TTV | Nº 71 | MIPCOM | Oct. 2011 by TodotvMedia

Contents _/24

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Special Report

Executives

LATIN AMERICA

Our American Friend _/22

Netflix: friend or Foe? _/14 PAY TV IN LATIN AMERICA

Times Are A-Changin’ _/84

Reed Hastings, CEO of Netflix

Rolling Out Brands _/24 Pim Schmitz, CEO, Talpa Holding

Reviving Heroes and Villains _/30 Fernando Szew, CEO, MarVista Entertainement

SPAIN

Audiovisual for Export _/128

‘Dance!’ gets to Cannes _/52

Marcos Santana, President of Telemundo Internacional

todotvnews.com ttvmedianews.com Chile, Peru: Committed to Original Production _/58

Googlerola _/116

_/83

_/52

_/96

_/62

_/128

_/94

_/124

Specials The Eye of the Hurricane _/62

Gary Carter, CEO, FremantleMedia Enterprises

Crisis Averted _/94

Mathieu Béjot, Executive Director, TV France International

500 Hours in Cannes _/96 Angélica Guerra, VP of Caracol TV Internacional

Three Decades of Celebrations _/120 Daniela Beyruti, Director of Art and Programming, SBT

An Internationally-Molded Portfolio _/124 Sean Cohan, International SVP, A+E Television Networks

Telenovelas _/35 Films&Series _/67 Kids&Teens _/99 Production _/131

Listings

Mipcom 2011 _/163

Gallery DISCOP East _/54

20-23 Jun, Sofitel Hotel, Budapest, Hungary

Download the Scanlife free application on any phone or access your Blackberry’s bar code reader found within the Blackberry Messenger options. Point your mobile device’s camera over the QR code and instantly access www.ttvmedianews.com to read the latest news on Latin American and Hispanic TV markets.

PRESIDENT / CEO Sebastian Lateulade - slateulade@todotv.tv EXECUTIVE DIRECTOR Soledad Saldías - ssaldias@todotv.tv EDITOR IN CHIEF Rodrigo Ros - rros@todotv.tv PUBLISHING EDITOR Sebastián Amoroso- samoroso@todotv.tv EDITORS Stephanie Biscomb - sbiscomb@todotv.tv Sebastián Torterola - storterola@todotv.tv Josefina Mezzera Regules - jmezzera@todotv.tv SALES AND PRODUCTION MANAGER Darío Alemán - daleman@todotv.tv INTERNATIONAL SALES MANAGER Monica Iriarte - miriarte@todotv.tv INTERNATIONAL BUSINESS DEVELOPMENT Alejandro Sánchez - asanchez@todotv.tv IT MANAGER Alejandro Barros - abarros@todotv.tv DATA OPERATIONS Fernando Moreno - fmoreno@todotv.tv WEBMASTER Nazario Pereira - npereira@todotv.tv TRANSLATOR Josefina Caviglia - jcaviglia@todotv.tv FINANCE MANAGER Cr. Michel Schwartz - mschwartz@todotv.tv ADMINISTRATION Ana Paula Carreira - acarreira@todotv.tv Valeria Morena - morena@todotv.tv ART & DESIGN Unik Design - info@unikbureau.com www.unikbureau.com HEADQUARTERS Aguada Park - Paraguay 2141 Of. 401, Montevideo - Uruguay - CP 11800 Tel./Fax: (598) 2927 2510 / 2511 / 2513 ttv is a monthly publication owned by TodotvMedia. Its distribution is free of charge. The articles reflect the opinions of the individual authors on the topics covered, without implying editorial control or endorsement of the content by the management and ownership of the magazine. For all purposes, the advertisements and their content are the sole responsibility of the advertiser. Reproduction in whole or in part, in electronic or print form, of the content of this publication, without express written permission of TodotvMedia is strictly prohibited.

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Latin America

Disney, Globosat: A Strategic Alliance

Fernando Barbosa (Vice Presidente da Disney Media Networks) and João Mesquita (Diretor Geral Telecine)

afTeR elusive yeaRs, Disney Media Networks Latin America (DMNLA) and Globosat were finally able to seal a long-awaited deal. As from October 1 Telecine’s premium channel network will serve as an exclusive distribution window for Disney’s content in the Brazilian market. The premiere of ‘The Sorcerer’s Apprentice’ on the Globosat channel will celebrate the occasion. Until now, the Telecine network -which includes six SD and three HD all-film channels- fed its grids with content from four of Hollywood’s seven major studios: Fox, Paramount, Universal and MGM. “One of the major studios remained to be part of our alliance. We made a great effort to bring Disney to Telecine,” said Alberto Pecegueiro, general director of Globosat. Disney’s library will provide Telecine with premieres and classics such as ‘Tron’, ‘Cars 2’, ‘Pirates of the Caribbean’ or ‘Winnie the Pooh’. It is clear then that this is not a mere output deal between a major studio and a programmer. It is about the coming together of two giants within Brazil’s favorable economic context. This partnership will most likely bring more news in the short run. During the announcement the executives did not stop themselves from ﬂirting with the idea of developing VOD and 3D projects together.

Acknowledgement

ANNe SweeNey NAMed MiPCoM 2011 ‘PeRSoNALity of the yeAR’ Reed midem has Named aNNe sweeNey, president of Disney/ ABC Television Group (DATG) president and co-chair of Disney Media Networks, the MIPCOM 2011 ‘Personality of the Year’, making her the first woman to ever receive the accolade. She will accept the award on Wednesday October 5 during a gala dinner for industry executives. The 27th annual MIPCOM will be held on October 3-6, 2011 at the Palais des Festivals in Cannes, France. Named the ‘Most Powerful Woman in Entertainment’ by The Hollywood Reporter, one of the ‘50 Most Powerful Women in Business’ by Fortune and one of ‘The World’s 100 Most Powerful Women’ by Forbes, Anne Sweeney is responsible for The Walt Disney Company’s entertainment and news television properties globally.

Anunciantes ABPI - Brasil / AETN / ATF / Argentina Audiovisual / Bossa Nova / Caracol Producciones Caracol TV Internacional / Caracol TV Internacional / Cartoon Network / Cartoon Network Cineﬂix / Disney Media Networks Latam / Flac / Fremantlemedia Productions Global Agency / Hbo / Ideas Del Sur / Latin Media Corporation / Mediabiz / Mondo TV Msc / Natpe / Novavision / OZ Media / Pol-Ka Producciones / Producciones Rti / Promaxbda RCN Television / Record TV Network / Rti Producciones / RTVE / Talpa / Telefe Contenidos Telefe International / Telefilms / Telemundo Internacional / Televisa Networks / TV Azteca / TV France International / Venevision International / Vip 2000 TV / World Wrestling Entertainment

Noticias News ttv OTT

Google TV Will Not Give Up Despite slipping along the way, Google is ready to insist on entering the OTT market and is now planning to up the ante with Google TV. Apparently, the lack of success its platform secured in the US isn’t enough for the internet search giant to even consider calling it quits. The company’s former CEO, Eric Schmidt, assured those present at the last International Television Festival in Edinburgh that Google TV will eventually expand to the European continent and that content creators and distributors should get ready and plan ahead for the future, a future where traditional TV business models are bound to change. Yet it is Google TV that definitely needs a change of plans in order to not fall again. War has already been declared and no one knows how it will end. Apple TV, Steve Jobs’ renowned hobby, has already won the first few rounds to the expense of Google TV’s failed revolution. But the hands are still being dealt and North America isn’t the only playing field anymore: other smaller players are already serving themselves to their own portions, looking for their own opportunity within a potentially lucrative OTT market.

RCN Seeks to Conquer US Audiences RCN Televisión sold five of its productions to Telefutura, one of the most important Spanish-speaking networks in the US. These Colombian productions took up a significant share in the US network’s programming grid. After the sale, Telefutura aired ‘La Pola’, ‘Hasta que la plata nos separe’, ‘Doña Bella’, ‘El Último Matrimonio Feliz’ and ‘Retrato de una mujer’. Featuring different characters, landscapes and historic settings, the five of them show love relationships that are capable of dramatically changing the course of a character’s life.

Spain

Goodbye to Audience Leaders August was the third month in a row in which Telecinco took home the number one position in Spanish audience share. But to tell the truth, it did not stand as a summer leader because its winning difference above the rest was way too small to say so. This is actually no coincidence but the result of Spain’s market segmentation, with market niches prevailing over general preferences. Maybe the data released by Barlovento Comunicación can shed some light onto this. Telecinco reached an average market share of 14.3%, which was the lowest rate for a monthly leader. The number two position was taken with 13.2% by La1, which recorded its monthly minimum. And number three was Antena 3 with 11.3%, the only one of the three that increased its share compared to the previous month. This is good evidence to prove that major channel leaderships are coming to an end -at least in Spain- and, as a result, segmentation is at the top of its game. This August yielded a record average of 193 minutes of TV viewing time per day/person and the fight over the audience is getting more even with every day. DTT continues to lead the Spanish market even though it dropped 1% compared to the previous month and tanked at 79.7%. Cable and satellite both remained with 15% and 5.2% respectively.

Appointment/Pay Tv

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Discovery Networks International Promotes Enrique Martínez On Wednesday, August 24, Enrique Martínez took over as president and general director at Discovery Networks Latin America/US Hispanic. So far Martínez served as executive VP and general director for the Latin American and US Hispanic regions. The promotion, which makes him leader of the division, is meant to live up to the company’s business in the region - its international income for the second quarter of 2011 grew 20% to US$368 million. Yet this appointment does not change Martínez’s current duties but acknowledges the work that he has been already conducting for the company. “The regional leader does not only manage a portfolio of linear channels but now leads operations in multiple platforms following a number of business models, including traditional channels, DTT and entertainment channels,” the company said in a statement.

Puerto Rico

Wapa TV Launches ‘Idol’ ‘Idol Puerto Rico’ premiered on Wapa TV in early August with excellent results. This debut constitutes a milestone in the format’s adaptation in Latin America, becoming the first franchise of its kind sold in Puerto Rico. This new bet exceeded expectations, winning over ‘Pequeños Gigantes’, the Televisa format broadcast on Univision. ‘Pequeños Gigantes’ has been achieving great results not only in Mexico -its original country- but in the US Hispanic market as well. According to Nielsen, ‘Idol Puerto Rico’ obtained 32.2% share in the 1849 female demo compared to Telemundo’s 8.5% and Univision’s 26.5%. The 18-49 male demo also preferred ‘Idol Puerto Rico’ securing 28.4% share against Telemundo’s 16.8% and Univision’s 7.1%. In the 18-49 adult demo the show also secured first place with an astounding 30.5% share versus Telemundo’s 12.1% and Univision’s 18.3%.

Appointments

New Faces and Promotions for Univision’s Commercial Area The leading broadcast TV network in the US Hispanic market recently announced two appointments in its commercial area. First off, Jeff Browning became the new SVP of sales for Univision News in early September. Browning will work from New York in his recently-created role, supervising sales and news strategies for all of Univision’s platforms. Meanwhile, Greg Osborne was appointed as VP of network sales for the US West Coast. Osborne will continue to work from Los Angeles and will report to Nick Valls and Laura Molen, both VPs of network sales. In his new role, Osborne will lead all nationwide advertising sales for Univision that originate in the West Coast and will be in charge of sales teams in California, Arizona and New Mexico.

Market

Pay TV: The New Queen of Latin America According to a report published by LAMAC during the first half of 2011, pay TV keeps growing and it seems like nothing is going to stop it. The report is based on IBOPE data collected across seven markets: Argentina, Colombia, Peru, Chile, Central America, Mexico and Brazil. Out of this group of seven, the first four report penetration rates of over 50%, showing the leading role that the sector is currently playing in this region. Argentina continues to lead the penetration charts with 78.4% and Colombia is right after it with 77.7%. These two are followed by Peru with 63.2%, Chile with 55.6%, Central America with 49.3%, Mexico with 41.4% and Brazil with 28.6%. These numbers are representative of the sector’s momentum, which means that 47 million Latin American homes have access to pay TV services. Brazil and Mexico are the ones with the highest

Streaming

Disney to Implement Authentication System number of new subscribers with an average of 100,000 new subscribers every month. This explains their bulky growth figures, although this might be also related to the fact that these two markets are not as mature as the rest. As a result, over the last year the percentage of households that have pay TV compared to the overall number of homes with TV sets grew 31% in Brazil and 15% in Mexico.

TTV MAGAZINE/9

Only weeks ago broadcast TV network Fox announced that it will no longer offer its content online for free and moved its open content to Hulu Plus, implementing an authentication system for Fox.com users, becoming the first major broadcast TV player to venture into the TV Everywhere world, something that only pay TV companies had done so far. Since then there have been rumors that Disney would be considering following Fox’s footsteps. On August 9, its CEO Bob Iger confirmed this at the company’s earnings call for the second quarter of the year. Even though an exact date has not been set yet, Iger did say that the company will seek to include this new window in new agreements. Disney would be then seeking to increase its earnings generated from its rebroadcast deals with distributors. The main idea is to benefit pay TV subscribers with catch-up and TV Everywhere concepts, while everyone else will wait longer to see the content. In Fox’s case, the new window lasts for eight days. It might not seem as much but it’s enough to make a difference in any kind of negotiation. This move is evidently a twist in the evolution of online content distribution. The negotiation landscape for online content has now changed: instead of closing deals with online streaming services, networks would now be interested in signing deals with cable companies, leaving aside the already-saturated online platform market.

Noticias News ttv Brazil

BRAziL LeADS AD SPeNDiNg iN LATiN AMeRicA bRazil CoNTiNues To build on its Latin American kingdom. In May this year the country reported US$4.8 million in ad spending. This number seems even more impressive considering that it is five times higher than advertising records in Argentina, another giant in the region’s TV industry. Brazil’s ad spending numbers are 10.5 times larger than in Chile, 12.8 times more than in Venezuela and 40.3 times more than in Uruguay. Total TV ad spending amounted to 51% of the total US$4.8 million. This shows both the leading role that TV plays and the market size. When compared with Argentina, which is second in line, the number is 4.2 times larger. It is worth mentioning that investments in Brazilian TV are almost 13 times larger than ad spending in radio and 6 times higher than the amount invested in magazines.

Latin America

Televix, Discovery Sign Distribution Agreement disCoveRy NeTwoRks laTiN ameRiCa/us hispaNiC (DNLA/USH) has acquired broadcasting rights for the Televix Entertainment documentary ‘operation Victoria: The Fall of shining Path’. This co-production between Televix and Bliss is directed by Judith Velez (‘¡Líberenlos ya!’). DNLA/USH will premiere the production on Discovery Channel’s Latin American feed and on Discovery en Español for the US in 2012.

distribution

‘Cat’s Cradle’ Conﬁrms its Success in Latin America TeleNovela ‘cAt’S crAdle’ was pReseNTed to the international market early this year and has now been distributed to more than 15 countries. Chile, Peru, Costa Rica, Uruguay, the Dominican Republica, El Salvador, Cuba, Albania and Portugal have all set their hopes on Globo’s telenovela, which has enjoyed great success in Latin America. In Brazil, for instance, the show reached 56% share and an average audience of 22 million viewers. ‘cat’s cradle’ was made thanks to large production investments needed to shoot in extremely remote Brazilian locations. This was also the reason why special equipment and transport was also needed. The telenovela can be found in Globo TV International’s 2011 catalog, available during the next edition of MIPCOM.

Streaming

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Wuaki to Compete with Netflix in Spain obsTaCles keep ComiNg up as The us giant moves forward in its steps toward world domination. Catalan company Wuaki has recently launched a content streaming service and plans to secure the market before Netflix lands in Spain. The service is quite similar: the ability to watch good-quality movies and series online for a monthly fee. The first step? To conquer the SmarTV and HDMI-enabled TV sets in the market in order to get a head start over its future rival. The new service only accepts credit cards for now yet the company assures it will start offering alternative payment methods in the short-run. According to elmundo.es, Wuaki is also preparing a free trial version for those who need an extra push to buy a subscription. Spain isn’t the only market getting ready for Netflix. The same is happening in Latin America, where the US streaming service launched on September 5-12. In Mexico, for instance, Blockbuster has already launches a competing streaming service that will definitely be on the lookout for that elusive piece of market share.

Bolivia

New geNeRAL TeLecoMMuNicATioNS LAw The boliviaN seNaTe aNd boliviaN pResideNT evo moRales enacted the General Telecommunications, Information Technology and Communications Law on July 28. Yet the law has been plagued with strong criticism and controversies concerning its main articles. The first one imposes an equalitarian division of the country’s available frequencies, reducing the amount available for private companies from 80% to 33%. Another 33% was given to the State while community organizations and indigenous villages will be able to use 17% of the remaining space. Licenses for communication media are also extended from 10 to 15 years. The law also mandates that all media should air two nationwide presidential broadcasts a year for free. And, contrary to what is being imposed in Brazil with the PL 116, the law establishes that foreign enterprises may not hold more than 29% of any media company, reducing the allowed amount 20 points. This seeks to increase the presence of national companies in Bolivian media. As for the mobile spectrum, the law also establishes that 100% of the population will be covered by 2015 and that the country’s broadband will be expanded and improved in order to guarantee better access and better internet services. Those criticizing the law claim that these impositions do nothing more than try to increase the government’s power over Bolivia’s media, especially considering that most media in the country are accused of being against the ruling party. This is the case of Bolivia’s Confederation of Press Workers, which have already publicly rejected the new law.

Report ttv

Netﬂix: Friend or F NETFLIx’S LAUNCH IN LATIN AMERICA HAS DRIVEN THE REGION’S TV AND ENTERTAINMENT INDUSTRY INTO A SPECULATION FRENZY. WHAT’S GOING TO HAPPEN TO THE POPULAR ONLINE STREAMING SERVICE IN A REGION PLAGUED WITH PIRACY, BROADBAND GLITCHES AND USERS WANTING CONTENT FOR FREE? HOW WILL ITS BUSINESS MODEL IMPACT A GROWING AND STABLE PAY TV MARkET? TTV SPOkE TO SOME OF THE MOST IMPORTANT PLAYERS TO FINALLY GET SOME ANSWERS. By Stephanie Biscomb Twitter: @sbiscomb sbiscomb@todotv.tv

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similar thoughts: “We’ve seen strong, big and monstrous companies enter the Latin American market one year and leave the next with their tail between their legs,” he told ttv, after wishing Netflix all the luck in the world. It’s not hard to imagine exactly why Netflix could fail in its Latin American expansion. The possibility is quite latent and all industry players know the perils of doing business in the region very well. “Latin American markets are different to North American markets. Premium television and cable television work with certain variables that aren’t the same in the US and in Latin America. Even every single country within Latin America has different business variables,” Edgar Spielmann, CEO of Moviecity, explained. And Spielmann should know: Moviecity is one of the only premium pay TV channels that offers online streaming of its content to users in Latin America.

Madagascar 2005

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“It’s not hard to imagine exactly why Netflix could fail in its Latin American expansion. The possibility is quite latent and all industry players know the perils of doing business in the region very well.”

n the week of September 5-12, Netflix finally launched across the region, holding press conferences and enabling social media accounts to answer all those questions the TV industry had been speculating about for months. Price ranges and available devices were revealed, users got to test the waters with month-long free accounts and, despite an aged library, everyone was momentarily happy with the end result. Yet the most important questions -those that can only be answered with time- are still an enigma. Will Netflix actually work in Latin America? What obstacles will it most likely face? Will it survive them? What will it do to the region’s pay TV market? Is Netflix a complement to pay TV… or is it a competitor? Looking to shed some light on what the future will bring, ttv consulted some of the most important players in the region’s pay TV market, only to find that the waters are still most definitely divided. WILL IT WORK? The vast majority of executives decided to plead the fifth with an honest “I don’t know” when asked about Netflix’s chances of survival in the region. Yet others, like Carlos Martínez, executive VP and general director at Fox Latin American Channels, were adamant. “I don’t think Netflix will succeed in Latin America,” the executive told ttv in an interview. “It has too many challenges to face.” And despite being in the minority, Martínez is not alone. Eduardo Ruiz, VP and general manager at A&E Ole Networks shared

This is actually what Ruiz from A&E Ole Networks finds the most troubling. “Latin America isn’t just one market; it’s 20 different markets that have different laws and different cultures,” he said. “It’s not going to be easy.” BROADBAND AND CREDIT CARDS. Yet Netflix has bigger problems to worry about. “Several obstacles could slow Netlix down. First of all, its payment methods and platforms could play against it,” David Guerra, VP of sales and marketing for Latin America and the Caribbean at The Erotic Networks, told ttv. “Its second issue would be broadband. Broadband in Latin America isn’t the same as in the US or Europe and the user could end up being quite disappointed with the service.” In fact, Netflix CEO Reed Hastings himself seems to agree. At a press conference held to launch the service in Buenos Aires, Argentina, Hastings listed “broadband, credit cards and whether we have content that people will get excited about” as the three main variables for Netflix’s success. After all, only 30% of Latin Americans have a bank account, let alone a credit card. And, on the other hand, broadband penetration isn’t equally distributed throughout the region. But the company remains hopeful in its long-term plans. “In Latin America broadband is developing, credit cards are spreading,” Hastings told ttv once the cameras were turned off. “In our business plan, we hope to break even in two years.” But naysayers don’t see the future as shiny. “Broadband networks in Latin America can’t handle the amount of video that these kinds of platforms need in order to be successful,” Martínez from Fox Latin American Channels said, mirroring the concerns of some other players that have been quietly looking on the sidelines: telcos. NEUTRAL ON NEUTRALITY. Net neutrality is a worldwide issue to those immersed in advanced

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A PIRATE’S LIFE. Broadband and cultural diversity could very well give Netflix a hard time. But there is yet another issue: piracy. And here is where speculation becomes the most divided. “Online piracy is even worse than pay TV piracy in Latin America,” Martínez from Fox Latin American Channels insisted. “Here people are used to getting online content for free. Offering a paid model is very difficult.” Eduardo Mandía, commercial and programming manager at Uruguay’s Nuevo Siglo agreed with this. “It’s part of Latin America’s culture: people are not used to paying for online content. A lot of sites like, for instance, Cuevana, offer the same material for no cost.”

Shrek 2001

“Several obstacles could slow Netflix down. First of all, its payment methods and platforms could play against it.”

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(David Guerra, from The Erotic Networks)

markets. Yet its discussion in Latin American soil is far from mature and Netflix could force it into the public agenda. “Services like Netflix help increase the perceived value of broadband connections,” Márcio Fabbris, marketing director of fixed services at Telefónica, told ttv before the Brazil Forum in June, unwillingly glimpsing at what the future might bring. Telefónica is wellknown for supporting the notion of imposing broadband quotas behind paywalls, a move it has not yet implemented in any of its operating countries but usually plays with. And it is not the only one to do so. Antonio Joao, director at Brazil’s Via Embratel, also seemed to be considering the notion when he spoke to ttv. “We just hope that there’s some instance that considers competition issues amongst players in diverse platforms to discuss content rights, taxes and using operators’ broadband infrastructure,” he said. Even Netflix’s CEO has some comments about this. “Internet service providers love applications like YouTube, Netflix and Skype Video that work better at high speed internet because they are able to then sell more expensive packages at higher speeds,” Hastings said during the press conference in Buenos Aires. “Sometimes with ISPs, they don’t want to share the revenue that they collect (…). They say ‘You’re using our bandwidth so you should pay us,’ and we say ‘No, you should pay us,’ and it goes back and forth. So far in the US and Canada we don’t get part of their revenue and they don’t get part of ours (…). The bottom line is: who is creating value? Is the content creating value or is the pipe creating value?”

Cuevana is a good example. The online streaming site is borderline illegal (or completely illegal, depending on whom you ask) and yet manages to stay afloat thanks to legal loopholes and a very loyal fanbase. At the press conference in Buenos Aires, Hastings deliberately downplayed its -arguably- most important competitor’s role, leaving journalists bewildered. Was this blind confidence or perhaps a telling sign of how Netflix plans to leverage with Hollywood studios to finally take action and lay all the force of the law on Cuevana? Only time will tell but something seems to point toward the latter. And this is why many other executives think Netflix could be a solution to piracy, not foiled by it. “I think Netflix will have a difficult time in Latin America due to broadband issues, since it’s not very high-quality in the region,” Elie Wahba, SVP of 20th Century Fox Distribution for Latin America and the Caribbean, told ttv at the LA Screenings in May. “But on the other hand, Netflix could be a solution to finally put an end to piracy.” Netflix is also one of the few paid services Latin America even has. Just having a paid option is enough for some players to think that its impact on the industry will be widely positive. “It will generate a market and will increase audience demand for legal video content and platforms,” said Jonatan Fasano, mobile and value-added services manager at Terra Argentina. WHAT EVERYBODY WANTS TO KNOW. “Is this the end of cable? Is this the new way of television?” Hastings asked the crowd at the press conference in Buenos Aires. This is actually the question everyone is dying to know. The service’s 25 million subscribers in the US have left the TV market wondering whether Netflix is the main culprit behind the country’s ongoing cord-cutting problem and the last thing Latin America’s buoyant pay TV market wants is to start counting cancelled contracts.

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After all, only 30% of Latin Americans have a bank account, let alone a credit card. And, on the other hand, broadband penetration isn’t equally distributed throughout the region. “Online piracy is even worse than pay TV piracy in Latin America. Here people are used to getting online content for free. Offering a paid model is very difficult.” (Carlos Martínez, from Fox Latin American Channels)

Once Upon a Time in America 1984

“The answer is no. Netflix is a complement to existing cable and satellite,” Hastings answered immediately. Amazingly, most operators agree. Walter Burzaco, president of Argentina’s Cable TV Association (ATVC), told ttv that he didn’t think that Netflix’s presence in the region would be that serious. “It grew a lot in the US because it replaced the movie rental business like Blockbuster,” he added. And Ricardo Perez, marketing director at Brazilian TVA, agreed. “I don’t have a doubt that demand for traditional linear content will continue to exist,” he said. Mandía from Nuevo Siglo also gave his two cents. “I think these kinds of services are not just a threat but also represent an opportunity for operators,” he said. “It’ll be a complement to traditional pay TV,” José Elizalde, vice-director of sales for Latin America at Televisa Networks, said firmly. “A lot has been said about cord-cutters and there is a group of people that can live viewing just broadcast TV and VOD services like Netflix. But for now, there’s content that works better on lineal channels, such a news, sports and telenovelas.” And Fernando Magalhaes, programming director at Net Servicos -which recently launched a competing service -also said it with utter conviction: “It’s a complementary offering.” Many executives are repeating the same thing over and over again when it comes to Netflix and one cannot help but wonder if they’re really believing it or repeating it through clenched teeth until the mantra becomes a reality. In any case, Martínez from Fox Latin

American Channels was a bit more skeptical and offered a refreshing view. “We’re going to treat Netflix like what it is, a competitor,” he said. “We’re going to continue taking the necessary steps to offer people what they need in order to avoid seeing them turn down a short-term model like this one.” RIPPLES IN A POND. Despite the obstacles, challenges, omens and good wishes, operators are still nervous. “The worst thing you can do is underestimate Netflix,” said Alberto Pecegueiro, general manager of Globosat. And he is right. Even if Netflix turns out to be a complementary service, it’s unrealistic to think that the market will remain unchanged. But change doesn’t have to be negative. “What operators are seeing as a threat, the so-called ‘Netflix effect’ (…) should also be seen as a business opportunity,” Guerra from The Erotic Networks insisted. “Operators and content distributors should become partners and offer integral services that deliver not only content but other services for the user via videogame consoles, iPad tablets and internet platforms.” “If they come here, they’re going to be around for a while,” Spielmann from Moviecity told ttv. “And if they enter the market and stay for a good while I think they’ll do much good to digital entertainment because they will inject more dynamism into the market.” This sense of opportunity among players is certainly palpable. “It will affect pay TV services,” said Javier Ruete, general manager of TCC Uruguay. “But it’s a viable business model with which we should start dabbling in.”

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According to Elie Wahba, there’s really nothing to be nervous about. “Nothing kills anything. These questions have already surfaced at other times, like when radio and television emerged. But, in the end, none of those apocalyptic consequences happened,” he said. But Wahba himself admits that if Netflix is successful in the region it will most likely end up redefining the Latin American pay TV business model, something Guerra from The Erotic Networks can certainly relate to. “The increased presence of international premium content streaming providers online is obviously an important challenge to Latin American operators, that today -and more than ever- need to innovate and renovate their value offerings,” he concluded. In the end, no one actually knows what’ll happen with Netflix. But what’s certain is that the Latin American pay TV industry will have to step up its game and accept that, from now on, it is no longer playing for the little leagues. The time for furious innovation has finally arrived. ttv

DTH

DIRECTV Now Has 30 Million Subscribers Upstart satellite venture DIRECTV announced that it has surpassed the 30 million customer mark today, standing out as the world’s largest pay TV service. Since the beginning of the third quarter of 2009, DIRECTV added over 1.1 million customers in the US -more than any other satellite or cable provider- ending the second quarter of this year with over 19.4 million customers. The report also shows that DIRECTV Latin America (DTVLA) owns approximately 93% of Sky Brazil, 41% of Sky Mexico and 100% of Panamericana and has the largest coverage in the rest of the countries in the region. Over the past two years DTVLA added more than 2.4 million customers to the Sky Brazil and DIRECTV platforms. Sky Mexico has nearly doubled in size by adding an additional 1.8 million customers over the same time frame, bringing the total -including Mexico- to over 10.6 million customers in the region. According to the report, this increase was mostly driven by DIRECTV Latin America’s gross additions, which increased 25% to an all-time record of 823,000 gross and 472,000 net subscribers in the quarter, largely due to increased demand from the middle market segment in Brazil.

APPOINTMENT

From the ABTA Fair and Congress held in Sao Paulo on August 9-11, Jeff Shell, president of NBCUniversal International, announced that the company’s international expansion plans. NBCUniversal is a great content factory owned by Comcast, the largest cable company in the US and the world’s largest broadband provider as well as the third largest phone company in the US, with 12 million subscribers. This makes it the biggest media conglomerate in the world reporting income for over US$55 billion. And out of that total amount, only 8% comes from its operations overseas. This is exactly what the company is currently trying to change after the huge NBCU acquisition was sealed. “If we look into the 50 largest companies in the US -we are one of them- we are the last ones in income from foreign operations,” the executive said. “We are the last ones and the company that follows has doubled our income. So we know that we need to grow globally. It is imperative for the company to grow outside the US and in the next five to ten years we will focus our efforts and cash flow on that.”

BBC Worldwide, the main commercial arm of the BBC, announced the appointment of Fred Medina to the role of executive vice-president for Latin America. In this newly-created role, Medina will be responsible for BBC Worldwide’s strategic development in Latin America and the US Hispanic market, delivering new brand, product and service initiatives. Medina will be based in Miami and will report to Jana Bennett, president of Worldwide Networks. In the latest edition of the BBC Showcase in Rio de Janeiro, Jana Bennet said: “It intends to bring a regional focus to our global business. We also want to make sure that we can combine our properties in every convenient way to build on our brands through partnerships or joint ventures, both in the channel area as well as in the digital world, productions or programming sales,“ she said. This new position reflects BBC Worldwide’s strategic goal of increasing its international revenues focusing more and more on opportunities in this region and also in other areas of the world such as Europe, the Middle East and EMEA (Europe, the Middle East and Africa) and Asia, in addition to the existing position in North America, Australia and New Zealand.

Comcast, NBCU to Begin International Expansion

Fred Medina Joins BBC Worldwide

Argentina

3D DTT The Images and Signals Laboratory at the Tres de Febrero National University (UNTREF) in Argentina developed a data compression system that preserves image quality. This technology may be used in the future to bring 3D to DTT. According to the head of the UNTREF laboratory Mario Mastriani, this technology offers the possibility to broadcast up to four times more information: where there used to be room for only one channel, there would be room for four channels. “In this prototype, on the other side, between the set-top box and the TV set, there should be an image decompressing device, but we are working with the National University of the South to produce a chip to include it directly in the tuning box,” he said. In order for this technology to work as expected and to confirm that this is suitable, more research needs to be done. Content should also be specially-produced using stereoscopic cameras to convey the feeling of depth.

Appointment

José Cancela Joins the Telemundo Team TTV MAGAZINE/21

The executive was been named general manager of KVEA, the Telemundo station in Los Angeles. In his new role, Cancela will be responsible for the strategic and operational leadership of the company. He will direct and manage all aspects of the station’s operations including, news, sales, promotions, engineering, finance, HR and community relations. In addition, he will oversee the development and implementation of strategic sales and marketing plans.

Executives ttv

Our

American Friend

Netflix launched its platform in Latin America in September and the pay TV industry continues to study its potential negative impact on the sector. Yet the streaming service could actually be exactly what the sector needs to move forward.

By Stephanie Biscomb Twitter: @sbiscomb sbiscomb@todotv.tv

“We try not to directly compete with TV networks.”

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“One of the challenges for Netflix and all of paid services like Telefónica is the existence of piracy because it is very inexpensive for a consumer to use a site that has a lot of piracy.”

eyond the features Netflix’s service will have in Latin America, the real question is how it will impact on the region’s TV industry. Even though it is still too soon to see any concrete results -the service only ended its week-long launch on September 12players are still calling meetings to deal with the “Netflix issue” and to discuss the best way to face the new competitor. During the press conference held on Wednesday, September 7 at the Park Hyatt Palacio Duhay Hotel in Buenos Aires -which ttv

attended- the CEO of Netflix, Reed Hastings, did his best to calm down an industry that seems to be having a hard time believing or trusting him. “Is this the end of cable? Is this the new way for TV?” he asked the journalists in the room. “The answer is no. Netflix is a complement to existing cable and satellite, which have news, have sports and a very broad selection. Netflix is only movies and TV shows.” And to make his point even clearer, he pointed out that despite Netflix having grown to 25 million households in the US, “cable and satellite have also continued to grow,” a statement that holds some truth but hides a

Reed Hastings,

reality that’s a little bit more complicated than that.

CEO of Netﬂix

But the CEO did say that Netflix tries to not “directly compete with the main TV networks. We do not have the current season of shows; we have the prior seasons of shows. And that is part of why many people subscribe both to cable or satellite and to Netflix.” In fact, and considering that movies will become available on the platform one year after their theatrical release, this only goes to show that the online streaming service will have a hard time conquering a Latin American audience that is very used to not paying. sTRaNge allies agaiNsT piRaCy. “One of the challenges for Netflix and all of paid services like Telefónica is the existence of piracy because it is very inexpensive for a consumer to use a site that has a lot of piracy,” Hastings said during the conference, where the role of Cuevana -a borderline illegal free streaming service in the region- was constantly undermined and disregarded. “But, nevertheless, what we found is that if we offer a great service where you don’t have to install software and it just streams, and when you need it on Friday night and Saturday night it really works all of the time, then there is a market willing to pay for that,” he quickly added.

watch the video interview.

“We are expanding around the world and in Argentina with a longer-term view. How fast will we grow in the first year is unknown.” determine the service’s success in Latin America. Yet once the cameras were turned off, he confessed to ttv that the company is expecting to break even in the region in about two years. Two years is not very long when considering the big picture, but it’s enough

Even though piracy rates do drop once users have a cheap and legal alternative in markets like the US, it’s hard to imagine that Latin American consumers will follow the same path. ‘Convincing’ US consumers took companies years of advertising, mostly thanks to the public debate driven by the music industry. The same discussion is still in its early stages in Latin America and speeding it up could prove to be quite difficult. But, who knows? Maybe Netflix will be the catalyst that Hollywood studios need to apply the weight of the law over Cuevana. And it would definitely be amusing if Netflix ends up helping the local pay TV industry instead of rising as the monster everyone fears it will become.

time for operators to concoct their own survival plans. And probably the best advice is given by Hastings himself, when talking about how Netflix will strive to succeed in the region: offer a great service that is worth paying for. It’s as simple as that. ttv

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aN uNCeRTaiN fuTuRe. Today, the mass hysteria spread among pay TV operators -and some broadcast TV players- is still expressed in whispers behind fake smiles and nobody really knows what will really happen. And nobody means, well, nobody: even Hastings isn’t sure about how the company will do in the region. “We are expanding around the world and in Argentina with a longer-term view. How fast will we grow in the first year is unknown,” he said. He mentioned broadband penetration, the amount of people with credit cards and appealing content as the keys that’ll

Executives ttv

Rolling Out Brands Entertainment formats have found a way to re-invent themselves within the same business model by creating a successful brand that assures their international expansion, market by market. Talpa Holding’s CEO explains how this worked with ‘The Voice Of…’, highlights the importance of social media and introduces a new title for 2012: talent show ‘The Winner Is…’.

By Sebastián Torterola Twitter: @storterola_ttv storterola@todotv.tv

The Voice Of Talent show

“Launching a new singing talent competition show in The Netherlands requested a new and fresh creative approach.”

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“With the new opportunities in real time you can imagine that business models will change; we need to be sure that we are involved and present while shaping these new business models.”

he company created by John de Mol -the creator of ‘Big Brother’thinks and acts bearing two main goals in mind: to create successful brands and roll them out to any existing market. The strategy lies in achieving an innovative idea from an existing entertainment concept (i.e. a talent show) to then integrate each and every platform as a new opportunity to involve audiences. Talpa’s most recent and successful brand, ‘The Voice of…’, is the simplest and strongest

example. “Launching a new singing talent competition show in The Netherlands requested a new and fresh creative approach,” Pim Schmitz, CEO of Talpa Holding, tells ttv. In order to do this, Talpa decided to exclusively focus on the raw talent, leaving other generally-used tactics such as publicly humiliating contestants out of the picture. The rise in popularity of streaming, connected TVs, tablets, smartphones, PCs and other mobile devices has left many distributors having to face audience fragmentation as

Pim Schmitz,

an important barrier to their sales strategy. Yet Schmitz thinks that this phenomenon just increases a format’s potential. “In both the creative and commercial processes this is very important as these developments bring us ample opportunities. From a creative standpoint we can involve viewers real-time in shows or, in other words, interactivity will be brought to the next level. With the new opportunities in real time you can imagine that business models will change; we need to be sure that we are involved and present while shaping these new business models”, he says. And interactivity is clearly the main star in these business models. Viewers want to be actively involved in TV shows and social media is crucial. “The audience increasingly wished to be part of the show in all of its stages: before, during and after the show. In our creative process this forms an integral part of our thinking. That said, the use of social media needs to have a clear added value for the TV show and the viewer and should never become a goal in itself,” the executives says. This way, it’s possible to build direct, longterm relationships with viewers, which is also attractive “from a commercial point of view,” according to Schmitz. Country to country, partner to partner, Talpa raises the stakes rolling out brands based on its unique know-how of the entertainment market, always counting with a powerful local player. ‘The Voice Of...’ was successfully adapted for US network NBC through a historic creative alliance between John de Mol and Mark Burnett. “In most of the key global TV markets, Talpa has joint ventures in place with local production companies. Apart from the clear economic rationale it gives us the opportunity to roll out a potential global format very quickly and, furthermore, we keep control on the quality of the production and the format. As said, quality of production and protecting the core of your format is key to our company,” Schmitz says.

So, what’s the secret? “From the start, it has been Talpa’s objective to take this genre to the next level by taking talent serious and

“It has been Talpa’s objective to take this genre to the next level by taking talent serious and focusing the show on the talent only.”

focusing the show on the talent only. We see a lot of new elements in the show but based on experience and reactions from the audience, the ‘blind auditions’ stand out the most,” Schmitz reveals. The four established coaches are not judges but all are known and active singers and only hear contestant’s voices without being ‘distracted’ by looks. In this show whether they look great or look bad doesn’t matter: it’s all about the voice. “Furthermore with ‘The Voice...’ the word ‘quality’ has been given a new meaning, so to speak. Contestants sing with a live band, sound, stage and lighting that are fantastic. And, last but not least, the coaches of ‘The Voice...’ are really famous performers themselves. Their interaction and the way they handle the members of their team is heartwarming and often very funny,” Schmitz says.

I Love My Country China

Talpa’s catalog for MIPCOM will also include programs such as ‘I Love My Country’, game show ‘Battle of the Sexes’ (which successfully aired on RTL 4) and action game show ‘The Pain Game’. “As a sneak preview, we can also mention that after the global success of ‘The Voice…’, we are working on a new talent show for which we have high hopes. It will be another extension of the talent show genre. The show is called ‘The Winner Is…’ and will be launched internationally in early 2012 after its premiere run in The Netherlands and Germany where the show has been picked up for a first series,” Schmitz concluded. ttv

Talpa In Latin America According to Pim Schmitz, the company’s formats’ presence in Latin America has significantly grown over the last period, with ‘Dating in the Dark’, ‘Sing It’ and, of course, ‘The Voice…’ as the most popular. “’The Voice…’ has already been commissioned by broadcasters in Brazil, Mexico and Chile, and we have ongoing negotiations in other territories in the region. We have also just announced the production of our studio-entertainment show ‘Sing It’ in Mexico that launched in late September on Televisa,” he said.

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THE VOICE… AND JUST THAT. The first season of ‘The Voice of Holland’ was launched in September 2010 on RTL 4 and became the most-watched talent show in Dutch history. “The Dutch TV landscape with over 10 freeto-air broadcasters is very competitive and comprehends all known talent shows since 2002. That makes the result of ‘The Voice of Holland’ even more exceptional,” the executive says. Starting from there, Talpa Distribution has been able to license the show to almost 30 countries within a year after its initial launch. The list of countries include versions in the US, UK and Germany. “In Latin America we have sold it in Mexico, Brazil and Chile to date,” he adds.

CEO, Talpa Holding

Noticias News ttv Brazil

All3Media Seals Deal with Globosat Starting in 2011, over 90 hours of All3Media International content will premiere on Brazil’s top programmer, Globosat. The new deal includes a primetime drama package as well as a factual entertainment series titled ‘The Candy Bar Girls’. From Lion Television’s unique perspective, ‘The Candy Bar Girls’ looks at life at London’s iconic Candy Bar. The deal also includes several drama titles distributed by All3Media, such as the mini-series ‘Field of Blood’ (an adaptation of Denise Mina’s bestselling novel), along with all three seasons of ‘Inspector George Gently’. Globosat also picked up ‘Accused’, factual entertainment series ‘Crash’, dramedy ‘The Almighty Johnsons’, mini-series ‘Going Postal’, thriller ‘The Silence’ and five seasons of teen drama ‘Skins’. “The titles acquired represent some of the best international programming available today and will all play a significant part in our upcoming primetime schedules,” said Barbara Adams, head of content research and acquisitions at Globosat.

Paraguay

A New Public TV Asunción -Paraguay’s capital city- celebrated its 474 years in August with the first broadcasts of its public television. Channels 14 and 15 will now belong to the State under a new communication concept: to set themselves apart. Channel 14 will be analog while channel 15 will broadcast digitally. Their screens will be fed with content from Encuentro channel in Argentina, Red TAL (Latin American Television) and Deutsche Welle in Germany, among others. The Paraguayan government also expects to air specially-made programs and, in this way, count with four to six hours of broadcasting time.

Intenational

Caracol TV, Arirang TV Ink Cooperation Agreement Caracol TV signed on August 24 a cooperation deal with Arirang TV, a company controlled by Korea’s International Radiobroadcast Foundation. Upon this deal both networks will be able to cover news, sports and other general interest topics, using each other’s technical and human resources to develop local productions. They will also exchange cultural, art, scientific, sports, news and other kinds of shows with each other, whenever necessary, and team up to co-produce TV shows. “We have been opening Caracol TV to the international market and it is very important for us to have this deal in Asia, as a key piece to achieve our goals toward the future,” said Carlos Alejandro Pérez-Dávila, president of Caracol Televisión. Shon Jie-ae, president of Arirang TV, said that the company expects this agreement “to help improve cooperation between Korea and Colombia in the broadcast sector.”

Argentina/Broadcast Tv 26/TTV MAGAZINE

El Trece Tops the Charts in August El Trece led Argentina’s broadcast TV’s cumulative rating during the entire month of August (Mondays to Sundays from 12:00 PM to 12:00 AM), with an 11.7 point average and 34.2% share according to IBOPE. These numbers made Artear -which reaches all of Latin American through its El Trece Internacional channel- reach the number one spot in all rating charts, skyrocketing during primetime (Mondays to Fridays from 8:00 PM to 12:00 AM), where it secured a 20.8 point average and 44.9% share. These results are largely due to the long-running success of ‘Showmatch’, the most-watched TV show in Argentina that’s hosted by Marcelo Tinelli. Other shows that played a huge part were series ‘Herederos de una Venganza’ and ‘Los Únicos’, both leaders in the genre. Series ‘El Puntero’ and news show ‘Telenoche’ -the most-watched news show in Argentina’s broadcast TV- also stood out.

Noticias News ttv Spain

Streaming

hULU LAUNCheS iN JAPAN AMidSt itS fiRSt BidS

TVE Broadcasts in 3D for the First Time oN augusT 1 all of Spain was able to enjoy 3D technology at no extra cost when broadcast network Televisión Española conducted a nationwide technical test airing that technology. Of course, not all of Spain did in fact apply but only those who owned 3D TV sets and special glasses to watch this kind of content. Starting at 10:00 AM the channel broadcast a concert by rap group Violadores del verso which took place in Zaragoza, its hometown. TVE’s free 3D broadcast was close to two hours long.

Appointment

PAuL BuccieRi iS iTV STuDioS iNTeRNATioNAL’S New MANAgiNg DiRecToR afTeR seRviNg as pResideNT and CEO of ITV Studios America for four years, Buccieri’s role has now extended to include the development and supervision of the company’s international strategy. He will report to kevin Lygo, managing director of ITV Studios, and will be in charge of all international production companies which are related to the company, as well as ITV Studios Global Entertinament, ITV’s distribution and the company’s consumer products business. Buccieri will also retain his responsibilities at ITV Studios America.

Strategic Moves for time warner Cable The seCoNd Cable CompaNy iN The us recently acquired Insight, the ninth operator within the same ranking. This US$3 billion transaction bought the company 680,000 new subscribers that will now join its existing 12 million clients. Insight offered users higher-speed internet, allowing Time Warner Cable to now offer 100 Mbps packages. In this way, the company is adding a strong weapon to its artillery and might even get a shot at beating its rivals in regard to DSL services. Likewise, this could also provide it with leverage when negotiating with regulators. The company also acquired broadcasting rights to some of Fox’s most popular content for its VOD service. ‘american Dad’, ‘america’s Most Wanted’, ‘Bones’, ‘cleveland show’ and ‘Family Guy’ were all included in the deal. Unlike Comcast, its VOD will not be a catch-up service but users will be able to enjoy content a day after it airs. Perhaps it was with Comcast’s dominion in mind that Time Warner Cable set out to play these strategic moves.

oN sepTembeR 1 Hulu launched its streaming platform in Japan, taking its first step into international expansion. The service is almost exactly the same as in the US except for a couple of things that could even be a preview of what will come next for the US market. The fees charged to access Hulu Plus, the platform’s paid premium service, constitute the first difference. While the monthly fee in the US is US$7.99, users in Japan will have to pay almost US$20. This increase has a very rational explanation: Hulu Plus in Japan has no advertising. Hulu’s Japanese version also features shows by CBS International, content that is certainly not available in the US service. And Hulu Japan also features films from Warner Bros. and Sony Pictures Entertainment, plus content from its owners (NBCUniversal/ Comcast, Disney and Twentieth Century Fox/ News Corp.). At the same time, the bidding process to buy the platform has officially started. Rumor has it that there were 12 potential buyers, but Business Insider revealed that the final candidate list has gone down to six. Apple, Microsoft and SK Telecom, for instance, decided to abstain. Even though these were only unofficial bids, the amount that these six would be willing to pay ranges between US$500 million and US$2 billion, with most of them around the latter. Business Insider, quoting anonymous specialized sources, confirmed that Google, Yahoo! and Amazon have submitted unofficial bids but did not report on the other three companies. Who will end up buying Hulu? Analysts’ favorite seems to change on a weekly basis but before this edition went into print, Amazon was leading all bets.

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Colombia

Almost 200 Companies Specializing in 3D Animation iT looks like Colombia aNd TRi-dimeNsioNal TeChNology have become very close friends over the last couple of years. A good example of this is the half-million dollar feature film produced using stereoscopic technology called ‘Pequeñas Voces’. There are also close to 200 specialized companies in the field, with about 20 of them either providing services abroad or having partnerships with multi-national companies. And the most striking thing of all -according to the head of operations of Zio Studio, Eduardo Smith- is that this growth has been extremely fast: just three years ago Colombia did not have the capacity to develop the kind of productions that are being developed these days. Everything could be partly related to the warm welcome that the Colombian audience always gives to 3D productions. Last year, 7.28 million viewers went to see at least one of the 22 movies that were produced using this technology, representing almost 22% of the overall audience. Numbers show that 2011 figures are going to be even higher. During the first half of the year, 17 titles were released with an audience close to 4.7 million people. But the tri-dimensional boom is not just restricted to fiction. Advertising and video games are also part of this business.

Executives ttv

Reviving Heroes and Villains MarVista has managed to unbury a hit from the past, polish it and prepare it for the future. It’s the case of ‘Power Rangers’, a franchise that has been reactivated through an effective communication strategy and with the brand new 20-episode series ‘Power Rangers Samurai’. Televisa in Mexico, Bandeirantes in Brazil and Nickelodeon Latin America have already stepped in and many other negotiations are rolling out worldwide.

By Sebastián Torterola Twitter: @storterola_ttv storterola@todotv.tv

“We have re-launched the property hand-in-hand with Saban Brands to ensure a thoroughly coordinated launch.”

arVista Entertainment has earned a respectable place in the US market as an independent producer and distributor. Rights acquisitions, international representation of TV titles and a strategy of permanently producing TV movies are part of the company’s operational dynamics. However, the company’s big wager was the acquisition of all international rights for the children’s classic TV show, ‘Power Rangers’ in 2010 after an agreement with Saban Brands. This included taking over around 700 episodes and a new initiative: 20 new episodes, which are already thrilling kids in many markets worldwide.

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“Since acquiring the rights last year to the new ‘Power Rangers Samurai’ series, the classic ‘Power Rangers’ episodes and their subsequent debut at MIPCOM 2010, we have received an enthusiastic response from broadcasters across Latin America and around the world and have recently signed several new agreements with key partners throughout the region,” Fernando Szew, MarVista’s CEO, tells ttv.

Fernando Szew, CEO, MarVista Entertainment

And these distribution deals are beyond interesting. The US distributor signed a multi-territory agreement last year with Nickelodeon, under which ‘Power Rangers Samurai’ debuted in Latin America in August. “We also announced new licensing agreements in 2011 to broadcast TV channels including Televisa in Mexico, which also started airing the series in August, and Bandeirantes in Brazil, which will debut ‘Power Rangers Samurai’ in the fourth quarter of 2011,” he adds. Since these sales

were inked, MarVista has lined up “a tremendous group of free-TV broadcast partners” throughout the region, including Peru’s America TV, Ecuador’s TCTV, Panama’s Corporación Medcom, Paraguay’s Telefuturo, Bolivia’s UNITEL, Nicaragua’s Intrasas TV and Uruguay’s Monte Carlo TV. “These broadcasters will start to air the series later in 2011 or early in 2012,” Szew announces. A BRAND’S KEY. When last year MarVista became interested in such a long-running franchise as ‘Power Rangers’, one could wonder if the brand was worth it considering kids & teens audiences have changed so much in the last ten years. Yet broadcasters’ response was immediate. Was it the brand’s vitality or an intelligent commercial strategy? Power Rangers Samurai 2010

Executives ttv

The distributor has also completed licensing agreements with international broadcast partners, including YTV in Canada and Canal J and Gulli in France. “Right now we are very close to signing a host of new agreements with leading broadcasters in Italy, Portugal, South Africa, Australia and New Zealand,” the executive assures. Szew also highlights that, with the acquisition of ‘Power Rangers’, MarVista has had “the privilege of working with a premier brand management company like Saban Brands and its team of professionals, on one of the most prominent properties” that the licensing and merchandising world has seen. “Of course we are excited to work with the various international licensing agents appointed across the globe by Saban Brands, including Exim Licensing Group across Latin America (excluding Mexico), Televisa and CPLG across Europe. We are working together with the best in the business,” he affirms.

Power Rangers Samurai 2010

“In the tween marketplace, humor, both with boys and girls, has tended to be a core element.” “We are working together with the best in the business.”

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Projects on the go The executive also announced MarVista will produce at least six new TV movies in 2012. As for its catalog, Szew commented: “We have about 2,000 hours of programming in our library and at MIPCOM we will launch eight new movies, from thrillers to romantic comedies and dramas. We are expecting significant demand based on the genres and exceptional casts like in ‘Desperate Attraction’, for example. In the kids’ arena, we will also debut a second season of the popular format ‘Prank Patrol Australia’, plus approximately 200 episodes of kids’ live-action programming that we are close to announcing a distribution agreement for.”

“’Power Rangers’ is a brand that has been successful in Latin America since it first launched and is now going into its 19th year. With Latin America, as well as in the US and around the world, we have re-launched the property hand-in-hand with Saban Brands to ensure a thoroughly coordinated launch,” the executive explains. ‘Power Rangers Samurai’ is the first new season developed by Saban Brands LLC since the global franchise returned to its original developer, Haim Saban. It is executive produced by Jonathan Tzachor, from the original series, who “has ensured that the elements that made Power Rangers so popular are incorporated,” including action-filled storylines, new Rangers, comedy and never-before-seen villains. In the executive’s words, this is the key behind the Nickelodeon Latin America and Grupo Bandeirantes agreements, as well as Televisa’s, which has been a partner throughout the history of ‘Power Rangers’. Yet the Mexican broadcaster decided to take on ‘Power Rangers Samurai’, wanting “to increase their involvement and come onboard as the licensing agent for the brand in Mexico,” Szew adds. The exploitation of this classic title has differed from one territory to another. In the case of Brazil, MarVista joined forces with Bandeirantes to undertake the Band Kids slot’s re-launch with ‘Power Rangers’ classic episodes. “Great frequency of ‘Power Rangers’ on Band Kids has helped to anchor Bandeirantes’ kids slot and has provided a great platform for us to properly introduce ‘Power Rangers Samurai’,” the executive says.

TWEEN TRENDS. As for programming for ‘tweens’, the executive agrees that it is one of the most competitive businesses in the TV market but holds great potential. “It’s all about the content”, Szew says. And this content has to resonate with the audience. “We find that in the tween marketplace, humor, both with boys and girls, has tended to be a core element. As an example, ‘Power Rangers’ not only has the action and adventure, but a huge strand of humor in every episode that resonates with the audience. Another example is the success of our Disney Channel movie ‘16 Wishes’, which features a deep-hearted storyline but also a huge comedic strand to it. This is a core element that we have replicated in our recently-announced second movie for Disney Channel, ‘Radio Rebel’. And in today’s marketplace, tween properties demand a 360 degree strategy, so it is not just about the TV progam, it’s social media, music, lifestyle products, etc,” he concludes. ttv Prank Patrol Live Action

Executives ttv

The increasing demand for HD telenovelas drove distribution company VIP 2000 TV to offer an interesting twist on its business. The company is now getting ready for MIPCOM, where it will look for new titles to enhance its content lineup and expand its global business. By Josefina Mezzera Twitter: @jmezzera jmezzera@todotv.tv

Roxana Rotundo, CEO of VIP 2000 TV

IP 2000 TV will certainly leave people talking at MIPCOM. The distribution company recently applied a strategic twist to its offering, focusing on telenovelas in HD as a way to add more value to its independent catalog. At the renowned tradeshow, the company will go after even more high-quality content to offer it loyal clients. Led by its CEO Roxana Rotundo, the company is getting ready for Cannes with a specific goal in mind. “We will seek to acquire content that complements the catalog we will present in NATPE 2012. We are looking for specific

Luna Roja Telenovela

material based on our clients’ demands,” the executive said. But VIP 2000 TV also has a lot to offer. One of its most recent incorporations is Zodiak’s ‘Being Human’. “We acquired the version made for the US that has become one of channel

SyFy’s star series,” Rotundo said. “Based on what we know about the Hispanic audience, we are sure that the US version will work better than any other.” The distribution company is also promoting ‘Luna Roja’, a telenovela that targets a teen and young-adult audience and is set in a vampire world. Rotundo is very optimistic about TiiN, the new Televisa Networks channel, acquiring the series. “This is the channel’s target and we know it will be a huge success,” she said. Telenovelas ‘El Honor de Amar’ and ‘Los Exitosos Pérez’, also distributed by VIP 2000 TV, are yielding very good results. “’El Honor de Amar’ has achieved excellent audience results in Ecuador and is growing in the US Hispanic market,” Rotundo said. “’Los Exitosos Pérez’ is currently airing on Puerto Rico’s Wapa TV, also obtaining very good audience rates.” The company has high hopes for the future and its mission for MIPCOM is to keep expanding its brand worldwide through new distribution and co-production deals. According to Rotundo, TV’s current momentum has been mostly driven by the pay TV market. “High definition and re-mastering have added new value to content that was already out of business,” she said. “It is the perfect time to do business,” she concluded. ttv

“High definition and re-mastering have added new value to content that was already out of business.” In The Name of Honor Telenovela

34/TTV MAGAZINE

Rosalind Rotundo, VP at VIP 2000 TV “The company’s aim at MIPCOM will be to continue purchasing material in high definition, particularly telenovelas with great production levels and good scripts. We’re looking for content that the Latin American market has never seen before, such as Romanian and Portuguese content which has been popular among Latin American audiences in the past and is different and fresh for screens. The company has been adapting to market changes and each territory’s demands, so we’re going to seek for content that meets this criteria. We continue to focus on our genre catalog, especially on new miniseries and reality shows.”

Latin America

TELEMUNDO ROCKING THE DOMINICAN REPUBLIC AND ECUADOR ‘THE QUEEN OF THE SOUTH’ KEEPS TRAVELING THE WORLD and now it’s reached the Dominican Republic. Following its success in several markets around the world, the telenovela premiered last Tuesday, August 30 on channel 11 Telesistemas. The production is distributed by Telemundo Internacional and is currently airing in Honduras, Panama, Hungary, Israel, Cyprus and Georgia. It also made it to TV screens in Spain and the US. In the Iberian country the telenovela became an absolute audience favorite and in North America it reported an average of 3 million viewers. Meanwhile, another Telemundo telenovela is rocking the region. ‘La Casa de al Lado’ premiered in Ecuador on channel Ecuavisa at 11:00 PM. Starring Martiza Rodríguez, Miguel Varoni, Catherine Siachoque and Gabriel Porras, the telenovela led its timeslot in Guayaquil with an average 3.9 rating points, achieving similar results in Quito. After premiering in the US in May, the telenovela’s microsite on Telemundo.com registered close to 10.2 million visitors. Its videos on the site have been watched over 2.8 million times.

Distribution

‘Emperatriz’ Lands in Puerto Rico ‘EMPERATRIZ’, PRODUCED BY TV AZTECA and distributed worldwide by Comarex, premiered in Puerto Rico on August 16 on Telemundo’s screen at 8:00 PM. The telenovela is being now aired Monday through Fridays at the same time. The story is actually a remake of a Venezuelan series that went by the same name and aired in the 90s. ‘Emperatriz’ was presented to the global market at MIPTV this year and features an excellent cast comprised of stars such as Gabriela Spanicas, Bernie Paz, Omar Fierro and Adriana Louvier. The telenovela tells the story of Emperatriz Jurado, who falls in love with a man that betrays her and takes her newborn daughter away from her. Emperatriz will now not only try to get her daughter back but get revenge on the man who failed her.

Ratings/Distribution

Caracol Televisión: Hits in Colombia, Ecuador THE PREMIERE OF THE TELENOVELA ‘EL SECRETARIO’ managed to take the Colombian network to the top of the primetime charts on August 24-25. The production stars Juan Pablo Espinosa, Stephanie Cayo and Martín Karpan and started out with 29.8% share during its debut, reaching 34.4% only three days later with 15% more viewers glued to their TVs. Meanwhile, ‘Yo No te Pido la Luna’ and ‘Mariana and Scarlett’, two other Caracol telenovelas, premiered on Ecuadorian TV in August as well, the former on Teleamazonas at 5:00 PM and the latter on Gama TV at 2:15 PM. Both are being distributed internationally by Caracol TV Internacional.

Production

VENEVISION AT FULL SPEED TTV MAGAZINE/T

AUGUST WAS CHOCK-FULL OF ANNOUNCEMENTS FOR VENEVISION. Toward the end of the month Manuel Fraíz-Grijalba, its VP, announced that shootings for ‘Válgame Dios’, its fourth production of the year, would start in October. The telenovela should hit the airwaves in 2012. Meanwhile, Venevision Productions also announced another telenovela: ‘Corazón Apasionado’, a story written by Alberto Gómez starring Marlene Favela and Guy Ecker. “Shot in Miami in HD, this new telenovela marks the return of renowned and beautiful actress Marlene Favela to Venevision after ten years of becoming famous worldwide for her role in ‘Gata Salvaje’,” said Peter Tinoco, president and CEO of Venevision Productions. ‘Válgame Dios’, on the other hand, is based on a story by Mónica Montañés and will star Eduardo Orozco and Sabrina Seara, with supporting performances by Flavia Gleske, Jean Carlos Simancas, Carlota Sosa, Gigi Zancheta and Juan Carlos Gardié.

TTVTelenovelas report Distribution

Pushing

T/TTV MAGAZINE

The Envelope Distribution outlets, producers and screens have never had offerings as complete and varied in regard to genres, audiences and formats. Distributors are diversifying, product lines are reaching an increasingly larger audience and screens are finding profits from bigger original production projects. This is just part of the Latin American reality that will be easily evidenced at the following edition of MIPCOM, to be held on October 3-6 in Cannes. By Rodrigo Ros Twitter: @rostodotv rros@todotv.tv

Being Human VIP 2000 TV

tarting Monday, October 3, distributors from all across the Latin American continent and the US Hispanic market will travel to the Palais des Festivals to promote their content. Highlights include big new releases, formats for export, historical adaptations, heartwarming stories and, naturally, a significant number of telenovelas that will arrive at the 2011 tradeshow boasting a handful of previously-signed international deals. HOT AND NEW. This year will be remembered among other things for its high-quality premieres, promotional on-screen campaigns, all-star casts, risky storylines and programming strategies. What’s new includes the recently-premiered ‘Pushovers’ from Chilean Channel 13. Latin Media Corporation will be in charge of handling the international distribution business of the already-successful series during MIPCOM. Other two notable releases come from Peru and are distributed by Frecuencia Latina International: ‘The Perricholi’, released on August 8 on América TV and Frecuencia Latina’s ‘La Bodeguita’. High-quality production ‘The Perricholi’ is an extraordinary historical adaptation that follows one of the most popular characters in Peru’s history during the Spanish rule. The result is definitely a must-see during the upcoming tradeshow. Another long-awaited release is ‘El Laberinto de Alicia’, which has managed to captivate audiences in TVN Chile’s primetime. Before MIPCOM, the telenovela was sold to several countries in and outside the Latin American continent. Sales deals for the Chilean series were closed by its official distributor Telemundo Internacional. Following the grand finale of ‘The English Teacher’, Caracol TV premiered ‘La Bruja’, a telenovela based on Germán Castro Caycedo’s play that combines different styles and genres, featuring a crime, comedy and supernatural storyline. Both ‘The English Teacher’ and ‘La Bruja’, along with ‘Broken Promises’, ‘The Secretary’ and ‘Infiltrated’, will be presented during the upcoming MIPCOM. Colombia’s broadcast TV is going through a great time for its local production. On the one hand, RCN will attend MIPCOM with a rich catalog, fed by its most recent premieres and with plenty of reasons to celebrate its ongoing consolidation in the international market. Highlights include ‘El Man es Germán’, ‘El Joe’, ‘La Mariposa’, ‘Retrato de una Mujer’ and ‘A Mano Limpia’. MIPCOM will also see Telefe’s ‘The Man of Your Dreams’ among its new releases. This original production was directed by award-winning Juan José Campanella (‘The Secret in Their Eyes’) winner

TTVTelenovelas report

“Highlights include big new releases, formats for export, historical adaptations, heartwarming stories and, naturally, a significant number of telenovelas.”

of an Academy Award in 2010. Shot in HD, ‘The Man of Your Dreams’ follows the story of Hugo, a single father that finds himself unemployed and is hired by his cousin Gloria to work at her dating agency. Unlike the traditional Latin American style, this production is comprised of 13 episodes, which obtained 25 rating points and 49% share according to data released by the network. Another mustsee in the list of this year’s releases is the US Hispanic premiere of ‘The Queen of the South’, which became Telemundo’s most successful debut and had a great international reception in both audience performances and sales by Telemundo Internacional. Also from the US Hispanic market is mega production ‘Eva Luna’, made by Venevision Productions for Univision. The series became the highest-rated telenovela in the US. AMBITION AND SUSPENSE. One of the ingredients that has distinguished major distribution companies is their choice for plots that combine suspense and characters with complex psychological profiles driven by their ambition.

And another extraordinary example is Record TV Network’s. The company is already known for the international distribution of popular titles such as ‘Samson and Delilah’ and ‘Esther, the Queen’. This year it released ‘Jackpot!’, which follows the misfortunes of a group of friends who, after winning the lottery and becoming millionaires, will go through a nightmare as they try to comply with a promise and compete for the other half of the prize. GENRES AND FORMATS. Another outstanding aspect of the content that Latin American distribution companies have made available for this year is the diversity of its genres and a solid format offering that goes beyond its star genre, the telenovela. One of the first surprises came from Mexico, where in addition to having the world’s largest amount of TV content in Spanish, the country has developed an entertainment format catalog that has captivated local and world audiences. A good example of this trend is Televisa’s ’Pequeños Gigantes’ which not only became a local hit but also achieved excellent audience results on network Univision. And a further Mexican example in terms of original formats is Azteca’s ninth season of ‘La Academia’ which upped the ante with a refreshed version of the format, complete with 3D broadcasts. Outside Mexico, other formats have also started to earn a place of their own within the global market such as ‘Mi Problema con las Mujeres’, distributed by Frecuencia International and picked up by FOX.

The Queen Of The South Telenovelas

T/TTV MAGAZINE

Such is the case of ‘The One’, a telenovela distributed by Telefe International that tells the story of Andrés, an ambitious and arrogant lawyer that wins a case in Argentina and is awarded with a trip to Spain that will ultimately change his life forever. Globo TV International’s ‘Cat’s Cradle’ runs along the same lines. The telenovela was introduced to the international market earlier this year and has been already distributed across more than 15 countries including Chile, Peru, Costa Rica, Uruguay, the Dominican Republic, El Salvador, Cuba, Albania and Portugal. ‘Cat’s Cradle’ has reported extremely good results in Latin America, especially in its home country (Brazil). There, the telenovela reported 56% share and an average audience of 22 million viewers, according to the distribution company.

Another successful example of the Latin American synergy between networks is the adaptation by Record Brazil of ‘Rebels’, or the Mexican version of ‘Los Exitosos Pells’ (a version of original Argentine format ‘The Successful Mr. and Mrs. Pells’) called ‘Los Exitosos Pérez’ and distributed by VIP 2000 TV. Also along the same path are Peruvian versions of ‘Los Exitosos Gome$’ and ‘LaLola’, distributed by Frecuencia Latina International. Risks are not only being taken in terms of genres and formats, but also in regard to audiences. Examples include products like Telefe’s ‘SuperClumsy’ or ‘La Banda’ (a Turner Broadcasting System Latin America production distributed by World Media Pictures), or even ‘Being Human’, a Zodiak series based on the story of three travelling companions: a vampire, a werewolf and a ghost. The latter has been recently acquired by VIP 2000 TV. All in all, a wide range of content offerings that will definitely show what the so-called latin touch is all about. ttv

TTVTelenovelas interview

Fabiano Freitas, President of the Artistic Committee, Rede Record

Taking Care of Every Detail The person in charge of Record TV Network’s high-budget fiction productions told ttv that the network has already invested US$600 million in ten projects for its grid. Freitas also discussed the cinematographic technology used for all productions and announced that the company is planning to extend RecNov, the network’s giant production complex.

ecord TV Network continues its unstoppable expansion. After ten years of historic growth, Brazil’s number two network is once again focusing on producing original high-budget series and telenovelas for the Latin American market. A good example of this is the biblical miniseries ‘Samson and Delilah’, which was 100% shot in HD at RecNov, the network’s mega production complex.

Fabiano Freitas,

President of the Artistic Committee, Rede Record “The market’s greatest challenge is to not only capture teens’ attention but to keep them loyal to a product.” By Sebastián Torterola

T/TTV MAGAZINE

Twitter: @storterola_ttv storterola@todotv.tv

The recently-appointed president of the Brazilian channel’s artistic committee talked to ttv about how much it invests in production and new projects and offered his outlook on how Brazilian audiences behave. What’s your evaluation of Record’s production activity in 2011? I was appointed president of the channel’s artistic committee in mid-April in Sao Paulo to collaborate with Honorilton Gonçalves, VP of art and

programming at the company. New and big projects are being created and will be produced until the end of this year and the beginning of the following one. We may say that in 2011 our products consolidated in regard to costs, audiences and production quality. How much does Record spend on original productions each year? Record currently has ten fixed original programs in its grid plus entertainment, variety and reality shows (not including journalist shows). The investment made for these products amounts to around US$600 million. What strategic cycle does each one of Record’s original productions follow? We could describe it in the following way: first off, we see if the audience would approve of it via Samson and Delilah Miniseries

TTVTelenovelas interview Rebelde Teen Telenovela

“The broadcaster went all the way to Los Angeles to get that technology and its special effects have nothing to envy those used in film.” “When we combine curiosity [about biblical stories] with a mega TV production and a lot of special effects, we talk to local and international audiences because everybody knows these stories and can relate to them somehow.”

market research. Then we develop the idea and concentrate on each of the production’s details. Later, we analyze if the advertising market would be interested in it and see what sales we could guarantee before going into production. Finally, we produce it and pick a strategic timeslot for it in the station’s programming grid. ‘Rebelde’ is a project that’s strongly aimed at the teen segment. How is this business area managed? Teen audiences represent 19% of Brazil’s entire population. These teens have great purchasing power and are highly influenced by the environment and the constant need for something new. Targeting this segment is done with great care. ‘Rebelde’ is a product with huge potential that allows us to generate different business fronts and platforms such as live shows, CDs, DVDs and licensed products. The market’s greatest challenge is to not only capture teens’ attention but to keep them loyal to a product.

T/TTV MAGAZINE

Production Strengths Delmar Andrade, international sales director at Record TV Network, also talked about the company’s main production strengths, all of them related to its strict artistic levels. “Undoubtedly, our greatest strength is our creativity and the variety of our productions, all written by big screenwriters who create stories full of intriguing characters living in intricate scenographic cities and counting with meticulous direction, as well as the great talent of our casts, which come from national and international theatre and cinema,” he said.

What are RecNov’s current production capacities and what new capacities will it offer in the near future? Mega production complex RecNov consists of 11 fully-equipped studios with state-of-the-art technology that lie in a 3,013,895 ft2 area. These facilities can be compared to the ones owned by some of the world’s main TV broadcasters. Its sets extend across 1,292 ft2 and employ over 3,000 highly-trained professionals and important names in the local fiction production industry. Today RecNov is expanding. Two more studios for a total of 37,674 ft2 are under construction, in addition to a building that will host offices and dressing rooms. A further 26,910 ft2

facility will be the Set Factory. In the future, three studios will be built for a total extension of 60,278 ft2 and a set warehouse that’ll be 26,910 ft2 big. In what way do biblical miniseries connect to Brazilian and international audiences? TV viewers are curious about biblical issues because the Bible is still the most-read book of all times. When we combine that curiosity with a mega TV production and a lot of special effects -like we did for ‘Esther, the Queen’ and ‘Samson and Delilah’ for example- we talk to local and international audiences because everybody knows these stories and can relate to them somehow. The miniseries ‘Samson and Delilah’ was Record’s first original series entirely shot in HD that also had 5.1 audio. The broadcaster went all the way to Los Angeles to get that technology and its special effects have nothing to envy those used in film. One of the most striking elements of this miniseries is its wardrobe and locations. Could you explain how this aspect was managed for the production? We were careful with the composition, setting and characterization of characters, making sure they faithfully represented the time the plot was set in. This plot was adapted by Gustavo Reiz and the miniseries counted with the general management of João Camargo. Wardrobe was carefully put through an ageing process to achieve the greatest possible faithfulness to that era. Women used blankets and clothes worn by women from the palace were all made of silk. Some actors took almost one hour and a half to prepare for their characters. ttv

The Secretary

Split - The Real Story

Caracol Television

Dori Media Group

Calle 103 # 69b -43. Bogota, Colombia 150 Alhambra Circle, Suite 1250, Coral Gables, FL, 33134 USA Ctra. Fuencarral Alcobendas Km. 12.450, 28049, Madrid, Spain. Tel.: +571-6430-430 (Colombia) / +1 305-960-2018 (USA) /+34 91 728 57 38 (Spain) Fax: 305-960-2017 (USA) E-mail: ventas@caracoltv.com.co Website: www.caracolinternacional.com Stand: 09.24

Hochhaus zur Palme, Bleicherweg 33, CH-8002 Zurich, Switzerland Tel.: +41-43-817-7050 Fax: +41-43-817-7055 E-mail: sales@dorimedia.com Website: www.dorimediadistribution.com Stand: Booth 12.02

Executives Attending

Angélica Guerra, International VP Carolina Leconte, Senior Director of Co-Productions Camilo Acuña, Senior Director of Programming and Acquisitions Marcela Montoya, Director of Programming Lisette Osorio, Senior Director of International Sales Roberto Corrente, Sales Executive Berta Orozco, Sales Executive Monica Ramon, International Sales Coordinator

TOP EXecutivE

Carlos Alejandro Perez, CEO

The Secretary

(El Secretario) (Telenovela – 120 x 60’) Emilio lives in New York but when he realizes that he has a daughter in Colombia, he decides to return to take on his role as a father. However, when he is traveling someone hides some dollars in his suitcase and the police arrest him. Emilio proves his innocence but his past will forever be stained by this incident and the only job he will get is as secretary. From the moment he “takes office”, Emilio will have to fight to fit in with the other secretaries. He will then become his boss’s shadow and right hand and will inevitably fall in love with her. But Antonia is engaged with no other than the despicable Felix Segura, lord and master of Copito Industries.

Broken Promises

(La Promesa) (Series - 60 x 60’)

T/TTV MAGAZINE

The way I love you

Every year thousands of women fall into the human traffic networks and they are forced to live a life full of slavery, both sexually and work wise. This is the story of Ana, Seleni and Frida who were taken from their homes with lies and sentenced to be exploited by a ruthless international trafficking ring which shows the living hell that they have to go through every day and from which they have no hope of escaping. In the middle of their life struggle, these three women will find out that love is the key to escape from the degradation and the torture that they have lived. But, will they be able to find an absolution after having gone through hell?

Executives Attending

Leora Nir, VP of TV Channels, Dori Media Group Elena Antonini, VP of Sales, Dori Media Distribution Argentina Revital Basel, CEO, Dori New Media Andres Santos, VP of Sales, Dori Media America

Cat’s Cradle

Frecuencia Latina International 20900 NE 30th Ave. Suite 853, Aventura, Fl, 33180 - USA Tel.: (954)-457-1200 Fax: (954)-457 1213 E-mail: pjasin@frecuenciatv.com.pe Website: www.flinternational.tv Booth: 09.07

Executives Attending

Patricia Jasin, International Sales Director

TOP EXecutivE

Miki Ivcher, CEO

Globo TV International Rua Evandro Carlos de Andrade, 160 / 7º andar, Vila Cordeiro 04583-115, São Paulo, Brazil Tel.: + 55 11 5112- 4413 Fax: + 55 115112-4018 E-mail: pedro.dombrasas@tvglobo.com.br Website: www.globotvinternational.com Stand: A0.01

Executives Attending

Daniel Djahjah, Sales Manager, Americas Rodrigo Vilela, Sales Executive, EMEA João Fonseca, Sales Executive, Asia, Africa & the Middle East Pedro Dombrasas, Sales Executive, Europe & Eastern Europe Gabriel Rohonyi, Eastern Europe & Latin America

Nadav Palti, President & CEO, Dori Media Group

TOP EXecutivE

Raphael Corrêa, Head of International Sales

The way I love you Split - The Real Story (45 X 30’)

What happens when fantasy takes over reality? A group of actors in a vampire series discover that their real life is scarier than the story they act in. The choices are similar but the threat is much more real – and deadly. Will true love prevail among demons and evil forces? Will Yon and Amit find each other again? At what price? Split 3rd season -the culmination of the fight between good and evil. 1st season sold to over 60 countries in 1 year. 2nd season sold to 34 countries in one year months.

First Love (300 X 4’)

An Interactive project of 150 short movies, shot in full HD, which document real love stories of youngsters, aged 16-20. ‘First Love’ is a fascinating and moving mosaic of lives and loves of adolescents, relevant to young people wherever they are. The successful project generated millions of views on web, mobile and iPhone and enjoyed extensive media interest and coverage. 2nd season is currently on air

Checked in N.Y (Docu-reality)

A pioneering docu-reality format, tells the stories of different people through the locations that marked their lives in the city. Inspired by the new LBS (Location Based Services) technology, this multi-platform format explores people’s journeys in the Big Apple, with stories told via the locations most significant to our heroes, each place with its own unique story. Throughout the 40 episodes we encounter journeys filled with joy and pain, success and failure, loneliness and love.

(Romantic Comedy - 40 X 30’) HD Production team leaded by the writer Adriana Lorenzón (author of ‘Los Roldan’, ‘Por amor a vos’, ‘Montecristo’, ‘El elegido’, etc) and by the Director Eduardo Ripari (‘Los Roldan’, ‘The successful Pells’, etc). The popular Venezuelan actress Catherine Fulop is the leader female actress.

The Perricholi

(Historic Novel - 72 x 60’) HD The Life Story of of Micaela Villegas, more well-known like ‘The Perricholi’. She was a very popular actress of century XVIII in Peru. She had a romance, very commented, for ten years (1766-1776) with Manuel Amat and Juniet, who at that time had assumed the government of Virreinato of Peru. Her life had turned into source of inspiration for a vast intellectual production that includes poetic, dramatic, musical and cinematographic diverse work sorts.

Against the ropes (Drama - 60 x 60’) HD

The story of a young boxer from a small town who must learn how to survive in a world that he does not know, very different from the one where he was born and needs to fight against an incontrollable passion.

Cat’s Cradle

(Cuna De Gato) (110 x 45’) The twists and turns in the life of Gustavo, a rich and intolerant man, married to Veronica, a vindictive, arrogant and futile woman. Gustavo only discover true love and recover his old values when he meets Rose, a simple, hard-working and down to earth woman who takes care of her four kids with love and dedication.

Passione

(HD - 160x45’) When the secrets of the past of a powerful family are revealed, mystery, intrigue, envy, passion, love and hatred intertwine the characters in a mesmerizing plot filled with enthralling and engaging twists and turns.

DRAMA SERIES MIRACLE HANDS/LA CURA (HD 5x52’)

A doctor with the power of healing, hailed as saint by some and criminal by others, struggles with the ghosts of his past and paradox of his gift upon returning to his hometown. Blending mystery and suspense, Miracle Hands tells a gripping story about the duality between different beliefs, the power of spiritual healing, the supernatural and religious customs.

First Lady

El Joe

Samson and Delilah

When You Smile

Latin Media Corporation

RCN Televisión

Record TV Network

Telefe International

8725 NW 18th Terrace, Suite 405, Miami, FL 33172 Tel.: 1305-974-1765 to 1768 Fax: 1305-974-1769 Website: www.latinmediacorp.net Malaysian Pavilion – Stand: 5.19

Avenida de las Américas # 65-82 Bogotá, Colombia Tel.: + (571) 4269292 - Ext 1187 Stand: 90.09

Rua da Várzea, 240 – Barra Funda, 01140-080, São Paulo-SP, Brazil Tel.: +55 11 3300-5468 Fax: +55 11 3300-5200 E-mail: dandrade@sp.rederecord.com.br Website: www.recordtvnetwork.com Stand: 0502

Prilidiano Pueyrredón 2989 2nd floor - B1640ILA - Buenos Aires, Argentina Tel.: (5411) 4308-5810 E-mail: sales@telefeinternational.com.ar Web: www.telefeinternational.com Booth: RSV 14 – Riviera Sea View

Executives Attending

Farid K. Ahmad, Director of Sales

TOP EXecutivE

Executives Attending

Maria Lucia Hernandez, Directora Ventas Internacionales. Lina María Waked, Ventas Internacionales. Ricardo Cruz, Director de Adquisiciones. Sara Gutierrez, VP de Programación.

José Escalante, Managing Director

Executives Attending

Edson Mendes, International Sales Manager

TOP EXecutivE

Delmar Andrade, International Sales Director

Gabriel Reyes Copello, Presidente

First Lady

(100 x 45’) (Telenovela) This is the story of Sabina Astudillo, a young and poor woman who dreams of becoming rich and to have everything her heart’s desires: power, luxury, and Money. Tired of being poor, Sabina moves to the capital city and decides to meet Leonardo Santander, one of the country’s presidential candidates. Sabina with the help of her allies: Domingo and Aníbal, she manages to enter into Leonardo’s and that of his family’s. At the same time, Sabina meets Mariano and fells deeply in love with him but she realizes if she wants to achieve her goals some sacrifices need to be made and she breaks up with him and begins to concentrate on her objectives. Sabina lies, manipulates, cheats, and doesn’t even care whom she has to hurt in order for her to become the First Lady.

Pushovers

(Approx. 100 x 45’ - In production) (Telenovela) After being laid off from their job, a group of men decide to take revenge on their former employer by stealing merchandise that’s worth lots of money. Everything goes wrong at first but they manage to succeed with their plan. After discovering they have a taste for felony, these men - each with a special skill; decide to continue with these robberies. They will get into hilarious situations as they hide their reality from their families and faced the impending danger of the people who they’ve wronged including a dangerous and yet colorful mob boss.

Life after Life

(12 x 55’ – Season I) (Series)

(Series - 102 x 60’) A humble young man has become the sensation of all carnivals of the Colombian Atlantic coast due to his singing voice; in the middle of the festivities of Barranquilla carnival, he meets Jackeline Ramón, an uptown girl, daughter of the owner of “Caribe Records”, one of the most important record companies in Colombia. Francisco Vergara, the eternal suitor of Jackeline, gives it all not only for destroying that relationship, but also for owning part of the record company.

Fist Fight

(Telenovela - 120 x 60’) Manuel, aka “The Lion”, returns to his neighborhood as an ex-con after five years in jail where he paid for having murdered a man during a clandestine brawl. Upon his return he finds his brother involved in the criminal world he strongly wanted to avoid. Coincidentally at the same time he meets Silvia, a wealthy psychology student who recently began her internship in the local public school his brother attends. Joined by the wish of driving teens away from the streets they design a project set within a boxing gym they open; “fist fight gym”.

A Dream Called Salsa (Telenovela - 121 x 60’)

Richi Torres is forced to quit professional dancing and salsa music, because he is threatened by Gustavo Ortiz, a corrupt city councilor. On the other hand, Margarita, a successful executive, owner of one of the most important real- estate agencies in Cali, is forced by circumstances to develop a salsa- music dancing complex in the city to avoid losing her company. This is one of the most ambitious projects ever thought. in order to make it work, she has to contract the best dancing group, the one who is directed by Richi Torres.

Michelle Wasserman, Head of International Business Programming, Formats & Production Services Guillermo Borensztein, Business Development & Research Diana Coifman, International Business Senior Executive Europe & Brazil – Programming, Formats & Production Services Jesica Stescobich, International Business Executive Latam, USA & Canda Programming, Formats & Production Services Meca Salado Pizarro, Head of Marketing

TOP EXecutivE

Samson and Delilah (HD Series – 18 x 50’)

Samson is a courageous man, a Hebrew who gives fight to many armies of his people enemies, and savage beasts; also, he keeps to himself the mysterious secret of his strength. He was born as the promise of being the rescuer of his people who were oppressed and persecuted. Delilah, a Philistine woman who has an exuberant beauty and is extremely ambitious, hears about the triumph of Samson over the Philistines. She was chosen by Inarus, prince of Gaza, to be another of his courtesans and to persuade Samson so as to discover the secret of his strength.

Jackpot!

(HD Telenovela – on air) A group of friends had been playing lottery since two years ago. In the New Year’s Eve, when the prize has an extraordinary value, they picked the correct numbers of the lottery and they all become millionaires. They live their dreams but they are also involved in a terrible nightmare because they made a pact: each one has a mission to accomplish within one year and only those who can accomplish their mission shall be entitled to the other half of the prize that is stored in a saving account.

Esther, the Queen (HD Series – 10 x 60’)

‘Esther, the Queen’ tells the story of a beautiful young lady, and Jewish at a time when her people were persecuted and she must avoid that they’re all extinct. The drama takes place in Persian Empire, where King Ahasuerus called all the virgins of the kingdom so he could choose a new queen for him. When he meets Esther, King Ahasuerus falls in love with her immediately, without knowing the truth about her origin. Esther surrenders to the love of the king and reveals her true feelings for him. They get married and she is crowned queen of the whole Persian Empire.

Delmar Andrade, International Sales Director

When You Smile

(Romantic sitcom - 150 x 60’) ‘When you smile’ is fiction with lots of comedy and lots of romance aimed at the whole family to have fun and emotion and it is starred by renowned actor Facundo Arana and Julieta Díaz, with a first-class cast made up by Mario Pasik, Benjamín Rojas, Mariana Esposito, Mercedes Funes and Julia Calvo, among others. It tells the story of how the life of a successful professional which is programmed hour by hour, day by day and month by month is suddenly disrupted by the arrival of a son whose existence he ignored and a father whom he would have preferred not to know.

The One

(Telenovela, 150 x 60’) Starred by acclaimed Argentine movie and TV artists such as Pablo Echarri, Leticia Bredice, and Lito Cruz, “The One” tells the story of Andrés (Pablo Echarri) an arrogant and ambitious lawyer who, after winning a trial, is awarded a trip to Spain which will change his life forever. He undertakes a merciless competition with the rest of his colleagues to get to be “The One” as partner in the firm where he works. Mariana, an idealist lawyer to whom he will feel an irresistible attraction is among them. They will inevitably end up falling in love.

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More than 30,000 people in the world get transplants in order to get a second chance to live again. This heartwarming series takes place in the prestigious Nataniel Cox Hospital where a group of discipline doctors, surgeons, technicians, lawyers, and prosecutors must work together and where their ethics and emotions will be put to the test as they faced various challenges and cases that will come across their path.

El Joe

Executives Attending

My Heart Beats for Lola Volcan

The One Who Couldn’t Love

Natalia

Telemundo Internacional

TV Azteca

VENEVISION INTERNATIONAL

2745 Ponce de Leon Blvd., Coral Gables FL 33134, USA Tel.: (305) 774 0033 Fax: (305) 774 7372 E-mail: alejandra.recasens@nbcuni.com Website: www.telemundointernacional.com Stand: A.021

6355 NW 36th Street, Miami, FL. 33166, USA 805 Third Avenue - 9th Floor, New York, NY 10022, USA c/ Ayala no. 27, 4º, Dcha., 28001, Madrid, Spain Room 1201, Building 3, Wanda Plaza, 93 Jianguo Road, Chaoyang District, Beijing 100022, China Tel.: +1 (786) 265 2500 / +1 (212) 686-5880 +34 (91) 700 0463 / +86 (1343) 670 6023 Fax: +1 (786) 265 2269 / +1 (212) 686-0383 +34 (91) 700 0464 / +86 (10) 5960 4886 E-mail: info@televisainternacional.tv Website: www.televisainternacional.tv Stand: RSV 02

Periferico Sur 4121, Fuentes Del Pedregal Tlalp, 14141 D.F, México Tel.: +52 555 251 1410 Fax: +52 555 251 1409 E-mail: sales@comarex.tv Website: www.comarex.tv Stand: LR2.06

121 Alhambra Plaza, Suite 1400, Coral Gables, FL 33134, USA Tel.: 305 442 3411 Fax: 305 446 7443 Website: www.venevisioninternational.com Stand: 14.02

Executives Attending

Xavier Aristimuño, SVP Sales & International Businness Development, Asia Esperanza Garay, SVP Sales & Acquisition, Latin America Luis Daniel Capriles, VP International Digital Media Sales Joysette Rivera, Sales Manager, Central America, Canada, Ecuador & Caribbean Alejandra Recasens, VP Marketing & Promotions Melissa Pillow, Sales Director, Europe Elena Aguirre, Sales and Traffic Coordinator, Europe

TOP EXecutivE

Executives Attending

Carlos Castro, General Director of Sales Ricardo Ehrsam, General Director Europe and Asia Claudia Sahab, Director for Europe Pedro Fonto, General Director of Sales Asia, and Middle East Mario Castro, Director of New Businesses Claudia Silva, Director of Sales for Licensed Products & Pay TV José Luis Romero, Director of Formats and New Contents

Marcos Santana, President

TOP EXecutivE

Fernando Pérez Gavilán, VP of Televisa Internacional

My Heart Beats for Lola Volcan (Telenovela, 130 x 60’)

The love Lola and Andres have for one another knows no boundaries. Hopeful with the idea of loving each other for eternity, they decide to elope to Las Vegas, confronting Andres’ family, who has always opposed their relationship. Little did they know that their decisions would bring about the greatest misfortune of their lives. Lola, in an act of rebellion against her aunt Chabela and her mother Soledad, who also oppose their love, escapes one night and gets a salamander tattooed on her back. The tattoo is a symbol of her love for Andres, who has called her “my salamander” since they met. Marcelo Santacruz, Andres’ father, puts him back in the military school from which he escaped, making sure that this time Andres is watched extra closely. As if this was not enough, Marcelo also schemes to lock Lola in jail – where she will remain for more than five years.

The Queen of the South (Telenovela, 62 x 60’)

T/TTV MAGAZINE

Under a Red Sky

The plot of ‘The Queen of the South’ spans over a period of 12 years and takes place in three continents and many countries. This thrilling story narrates the life of the legendary Teresa Mendoza, an innocent young woman who will be forced to transform herself into a woman strong enough to survive in a dangerous world dominated by men.

The one who couldn’t love (Traditional, 150 x 60’)

Ana Paula lives in Chiapas where she is studying nursing; her devotion for sick people came up while she took care of her ill mother throughout her long agony. When she was about to graduate, she met Bruno, Rogelio Montero’s lawyer. He offered her a job nursing his boss who became paralytic and got stuck in a wheel chair after having an accident. As the pay is fine, she takes the job in order to financially support her aunt Rosaura. Since then, an endless saga of jealousy, love and passion takes place.

Double Life

(Traditional, 150 x 60’) What happens when destiny changes your life, facing you with the hardest decision to make? Angélica Estrada marries Santiago Ballesteros, a young and good looking architect, with whom she falls in love at first sight. But, after a while, he suffers an accident and disappears, being declared officially dead. Thus, after two years of mourning, Angélica loses her mind for Ricardo Valtierra, who is married and leaves her wife because of Angélica. However, the story doesn’t end there. Santiago comes back and he is determined to recover his life, which includes Angélica. Now, she must solve her vital dilemma: which of the two should she stay with.

Executives Attending

Marcel VInay Jr., CEO Comarex Ana Zaira Sanchez, Head of Operation Carmen Pizano, Sales - Latin America & Spain Ernesto Ramirez, International Sales & New Media Martha Contreras, Sales - Asia Adela Velasco, Sales - Europe & Africa Raul Mendoza, Marketing

Executives Attending

Manuel Pérez, VP & CEO of Venevision International César Díaz, VP of sales Miguel Somoza, Regional Sales Director Daniel Rodríguez, Sales Director for Latin America Cristobal Ponte, Exclusive Independent Representative for Europe, Africa & M.E.

TOP EXecutivE

Miguel Dvorak, President & COO of the Cisneros Group of Companies

Marcel Vinay Hill, VP International Sales

Natalia Under a Red Sky (Drama, 120 x 60’)

Alma and Andres were meant for each other but it seems destiny is intent on keeping them apart. Years after a painful separation their paths cross again and they plan to run away together. But Alma’s husband, Victor, prevents her from meeting Andres who leaves disheartened convinced that she has chosen her husband over him. When confronted by Victor, an alcoholic prone to fits of violence, Alma accidentally kills him in self defense. Overcome by grief and hate her mother-in-law, Adela, has Alma arrested for murder. A few months later she gives birth to a baby girl in jail. Knowing full well Andres is the father and not her son, Adela disappears with the baby, which she names Daniela. Meanwhile Andres marries a former girlfriend who pretends to be carrying his child when she is really pregnant by another man.

Empress

(Drama, 120 x 60’) This is the story of Emperatriz Jurado, a woman who has fallen in love with Armando Mendoza but he has betrayed her and taken her newborn daughter. Emperatriz swears to herself that she will take revenge against Armando, get her daughter back and make him pay for all the damage he has done.

Lucho en Familia

(Comedy/Series, 40 x 60’) ‘Lucho en Familia’ is a comedy which follows the life of a retired wrestler Lucho with great family values who has to return to the ring to support his family. Lucho will have to overcome all kind of obstacles to get his family back on their feet.

(Telenovela, 140 x 45’) In love since childhood, Natalia and Luis Manuel refuse to let the enormous social differences between them get in the way of their happiness. But circumstances conspire against them, destroying their dreams - until a secret from the past changes everything. It is compelling story of injustice and triumph.

Passions of the Heart (Telenovela, 120 x 45’)

Patricia grows up under the iron hand of her grandmother, a wealthy landowner who manages the family ranch with equal firmness. When Patricia falls in love with a man that doesn’t meet up to her grandmother’s social and economic standards, she must pay the consequences.

The Black Widow (Telenovela, 140 x 45’)

It is a captivating love story encompassed in a setting of mystery and suspense, with apparent elements of a police thriller, where passions, revenge and intrigue converge between the credible characters that make up its interesting plot.

Eva Luna

(Telenovela, 114 x 45’) When Eva’s father is killed by a hit-and-run driver, she vows to find the culprit. Her life becomes a nightmare when she starts suspecting the man she loves. But there are sinister forces leading her to believe this lie… and she finds herself involved with the real killer, who’ll do anything to have her for himself.

Appointment

Sesame Workshop Welcomes Jennifer Ahearn SESAME WORKSHOP, the non-profit educational organization behind ‘Sesame Street’ appointed Jennifer Ahearn as vicepresident of licensing and strategic partner relationships. Ahearn will now report to Maura Regan, vice-president and general manager of global consumer products. In her new role, the executive will be in charge of managing Sesame Workshop’s relationship with toy company Hasbro to coordinate marketing initiatives and strategies and evaluate situations both locally and globally. She will also work closely with the organization’s Research and Education team to guarantee that the workshop’s educational goals are met.

Guillermo Borensztein, Gabriel corrado, Michelle wasserman and Fernando Varela

Formats

teleFe international cloSeS deal with ctV ARGENTINE DISTRIBUTOR TELEFE INTERNACIONAL announced a new deal with production company CTV Contenidos for the exclusive international distribution and commercialization of fiction formats. CTV Contenidos is a multimedia company specializing in fiction and entertainment formats and content which is based in Argentina and Spain. Actor and anchor Gabriel Corrado, president of the company, sealed the alliance that allows Telefe International to represent some of its products, including telenovela formats for ‘Amores cruzados’, ‘Escuela de seducción’, ‘Amor eterno’, ‘Gigoló’ and ‘Pueblo chico’. “This new deal gives Telefe International the chance to keep oﬀering its clients a renovated product catalog, in this case enhanced by new fiction formats, solid scripts and original stories,” said Fernando Varela, international business director at Telefe.

APPLe AFTeR sTeve JoBs AFTER 14 YEARS OF BEING AT ITS HELM, Steve Jobs finally stepped down as Ceo of the company that revolutionized technology. “I always said that the day I wasn’t able to fulfill my obligations and expectations as Ceo of Apple that I would be the first to let you know,” Steve Jobs said in a letter to the company’s Board of directors and Apple’s community. “Unfortunately, that day has come.” The new Ceo is Tim Cook, who previously served as Apple’s Coo and was personally recommended by Jobs. Both have been working together for the last 13 years and Cook has already stepped up to cover Jobs during his healthrelated absences. yet despite the certain understanding that both men share -and even though everyone is convinced that Cook is definitely the best candidatemany doubt that he can fill Jobs’ shoes. Steve Jobs wasn’t just a name or charismatic leader; over the years, he’s shown he possesses a very real and vast talent as a visionary, with enviable work ethics and perfectionism. In fact, the company was ready to collapse until Jobs came back in 1997 to pull it afloat. In any

Streaming

Hulu Goes the Original Content Way case, any changes that might occur won’t be in the short-term. iPods, iPads and Macs continue to flood the market and new products are already on their way. The last one to launch with Jobs imprint will be the eagerly awaited iPhone 5.

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ONLINE STREAMING SERvICES have taken a further step toward business consolidation while at the lead of the traditional distribution race. now, US movie and Tv streaming service hulu will venture into the original content business with ‘a Day in the Life’. The documentary series is directed by Morgan Spurlock (famous for ‘Super Size Me’, a very popular show on hulu) and features a day in the life of a celebrity. The list of celebrities that have already signed up to be on the show includes will.i.am and girl Talk, as well as British billionaire Richard Branson, which starred in the series’ premiere episode on August 17. The announcement arrives at a particular time in hulu’s existence: Tv network Fox -one of hulu’s major ownersrecently restricted its online platform broadcasts. Therefore, and even though hulu sources deny it, it makes sense for the company to start developing its own original content to at least lure users back in.

Executives ttv

‘Dance!’

gets to Cannes

The executive producers of ‘High School Musical’ Bill Borden and Barry Rosenbush created the tween telenovela ‘Dance! La Fuerza del Corazón,’ a co-production between Pow Wow Media Partners and Channel 10 from Uruguay. The remaining partner is Telemundo Internacional, the company that’ll handle its international distribution rights.

By Sebastián Amoroso Twitter: @sebamoroso samoroso@todotv.tv

“This production has a great significance because it is the first time that fiction of this quality is produced in Uruguay, with this budget and this international appeal.”

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“It is the first time that Uruguay will show its face to the world of telenovela production.”

he premiere of musical telenovela ‘Dance! La Fuerza del Corazón’ (80 x 60’) on Uruguay’s Channel 10 managed to increase the network’s share 5 points in its access primetime timeslot. Furthermore, the Uruguayan channel improved its leadership with each new broadcast. This co-production between Channel 10 and production company

Pow Wow Media Partners was created by the executive producers of ‘High School Musical’ Bill Borden and Barry Rosenbush and has revolutionized television production in the South American country. BUSINESS MODEL. In the last few weeks, Telemundo Internacional has confirmed that the company specialized in the production,

Marcos Santana,

co-production, sales and distribution of original content -a division of Telemundo Network and part of the NBC Universal family- has signed an agreement that grants the company all international distribution rights of the tween telenovela. “Telemundo Internacional has worked very closely with Pow Wow on this project, even before a preview existed,” Marcos Santana, president of Telemundo Internacional, told ttv in an exclusive interview.

President of Telemundo Internacional “For this production we have taken great care over each angle, each shot. There is an extreme care over photography and wardrobe.”

“They came up to me to talk about the idea of creating a teen telenovela for which they already had the executive producers of ‘High School Musical,’ Bill Borden and Barry Rosenbush, on board,” Santana explained. After several creative meetings, the project started maturing and growing stronger with the Spanish production company working hard on its production and business model. “The idea at the beginning was to produce it in Argentina and it was later transferred to Uruguay. That caught my attention even more,” the executive said. Pow Wow created a joint venture with Channel 10 from Uruguay and finally the puzzle pieces started to come together. The final touch was Telemundo International as the international distributor of the finished product’s rights as well as its format rights for local adaptations in different territories and markets. “This production has a great significance because it is the first time that fiction of this quality is produced in Uruguay, with this budget and this international appeal,” Santana said. “It is the first time that Uruguay will show its face to the world of telenovela production. My intention, along with its North American creators and its producers at Pow Wow, is to give recognition to the Uruguayan television industry so that it doesn’t go unnoticed,” he said.

BEHIND THE SCENES. In Montevideo, the capital of the South American country, a 16,146ft2 studio was built inside an old building. The set operates as a real dance school and spaces are divided with an official rehearsal room and with several corners where the different groups of dancers practice their choreographies. “For this production we have taken great care over each angle, each shot. There is an extreme care over photography and wardrobe. It has two directors with great experience -Martín Mariani and Gustavo Cotta- who have produced content such as ‘Rebelde Way,’ ‘Casi Ángeles’ or ‘Chiquititas,’ among others,” Marcos Santana said. The president of Telemundo Internacional also emphasized that “the cast was selected in a very responsible way, paying attention to the psicotype of each character.” ttv

370 actors in Buenos Aires and about 90 in Uruguay attended the casting call for dancers. Some of them were called up to seven times throughout the entire audition process to compose the final cast. As part of the project’s campaign, Channel 10 will grant a scholarship to a young Uruguayan artist or dancer so that he or she may participate in a course led by Julio Bocca at his own school. This scholarship is aimed at musical comedy, classical or contemporary dance students, to give them a chance to improve and take part of the most prestigious dancing festivals in the US. Ricky Pashkus, artistic director of the Julio Bocca Studio and the School of Musical Comedy and renowned dancer, set the main choreographic undertones and directed the dancers in the opening clip of the telenovela. Boys and girls who play the characters in the telenovela worked on the production of a CD which took about 50 days to record. In total, 15 musicians participated, including a string, wind and trombone quartet. In addition to the 15 songs on the record, a large music library was created to accompany the dances in the telenovela.

Marcos Santana is seeking to develop new audiovisual projects in this small South American market to help it emerge from its close-knitted frontiers. “The idea is for ‘Dance!’ to be the first milestone of an industry that didn’t exist in Uruguay before this, an industry dedicated to producing fiction,” the executive said.

A visionary and a pioneer Part of Telemundo Internacional’s business philosophy, which is evidently shared by its president, is to identify new development ideas to create original content and generate innovative multiplatform businesses. ‘Dance! La Fuerza del Corazón’ has been a very important step for Uruguay’s TV industry and that was one of the factors that encouraged Marcos Santana to get involved in the project. “I have always given way to the most outrageous things. Sixteen years ago -when nobody even thought about it- I believed in Colombian television. Over ten years ago the industry ignored the Chilean industry and I took that step. And now, ten years later I am doing the same thing with Uruguay. It is a challenge and a source of motivation,” the executive said.

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The South American country has several factors to its favor when it comes to developing for-export television productions. “Uruguay has all the elements to succeed,” Santana said. “Locations are extraordinary, it has the appropriate technology, it is very close to Brazil and Argentina, Uruguayans’ physiognomy may provide faces for all of Latin America; they have a less evident accent than Argentines and the country enjoys a stable economy.”

Trivia

Gallery ttv

DISCOPEast 20-23 Jun, Sofitel Hotel, Budapest, Hungary

General view of the Sofitel Hotel’s market floor

Patrick Jucaud (Basic Lead) and Rick Feldman (NATPE) during the announcement of NATPE’s takeover of DISCOP East

Mathieu Béjot (TV France Internationale)

Galina Ikryannikova, Olga Zatulkina and Valeria Dobrolyubova (Russia Television and Radio)

Barbora Susterova (Imagina International Sales)

Andrea Bannert-Droof (Kiddinx)

Yunchen Lin (Hochan Entertainment)

Monique Nayard (Moving Pictures)

Juanjo Asorey (Federación de Asociaciones de Productores Audiovisuales Españoles - FAPAE)

Beatrice Rossmanith (Passion Distribution)

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DISCOP East’s recovery is mostly driven by a healthier economic landscape, emerging platforms, VOD and pay TV. Yet DISCOP’s low buyer attendance poses some questions for the future. “I have the impression of being at the LA Screenings,” one could hear people say during the event. And the analogy actually makes sense because many buyers could not be there due to the series of screenings that were being held simultaneously with the market. Except for the Warner Bros’ screening session that took place a day before the event started, the rest were held at the same time as the market. At least four of the major studios hosted their corresponding programming presentations. A total of 510 buyers representing 289 companies participated in this 20th edition of DISCOP. A significant drop compared to the 800 that registered to the 2010 edition.

Chernitsa Ekaterina (RT TV)

Diana Coifman (Telefe International)

Catherine Stryker, Izzet Pinto and Brianne Bonney (Global Agency)

Haydée Pabón (RCTV International)

Marta Sokol and Ross Biggam (Association of Commercial TV in Europe - ACT)

Delmar Andrade (Record TV Network)

Latin Media Corporation executives headed by José Escalante, together with clients

Juan Fernández (World Media Pictures)

Lina María Waked (RCN Television)

Melissa Pillow and Elena Aguirre (Telemundo Internacional)

(m i on qu th e Ju ly v ly 20 av is 11 er ito ) ag r e) s

Executives ttv

The distribution market, TV consumption and ad spending are at their worldwide prime. Just moments away from this year’s MIPCOM, its director talks about the event and lists the most important highlights of this upcoming edition. By Rodrigo Ros Twitter: @rostodotv rros@todotv.tv

Laurine Garaude,

Director of MIPCOM and MIPTV for ReedMidem

ver 21 thousand square meters of exhibition room have already been sold for this upcoming MIPCOM and its organizers are hoping to set an attendance record this year. Conferences on production and new media, round tables, keynotes with the world’s most outstanding executives, workshops, awards, honor guests, networking events, stars and newcomers are part of this edition’s menu.

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Russia will be this edition’s country of honor, “a country that has boomed both in terms of its economy and ad spending,” Laurine Garaude, MIPCOM and MIPTV director for ReedMidem, tells ttv Preview. In fact, ad spending in Russia has gone up to US$129 billion, a number that makes it one of the strongest markets in media investment. “This is why the event will have several conferences

focused on understanding more about this market, getting to know its production and analyzing business opportunities within and from this market. The highlight keynote will be in charge of Konstantin Erns, Russia’s CEO of Channel One,” Garaude says.

“Expectations for this MIPCOM are high.” PERSONALITIES. This edition will certainly be crowded with industry personalities, including the aforementioned Konstantin Ernst. Miramax CEO Mike Lang and Anne Sweeney, president of Disney Media Network, -appointed as Personality of the Year- will also do their part. “Anne is also a very influential person in the industry, somebody that has

managed to be at the cutting-edge of digital platforms, promoting new businesses and generating opportunities in previously unexplored segments,” Garaude says. NEW COMERS. This year will also have many reps from the production sector and the emerging digital world at the exhibition hall. The list of exhibitors features MIRAMAX and Hasbro, two companies that will be attending as MIPCOM exhibitors for the first time. The event will also feature Turkish, Indonesian and Indian halls. “Pavilions will be very important this year, securing major producer attendance. For them, MIPCOM will offer plenty of spaces to debate, work and exchange ideas,” she says. The MIPCOM program this year will also include several conferences focused on analyzing potential business and financing opportunities under the “Money Matters Conferences” label. “Generally speaking, MIPCOM will offer the opportunity to really network,” Garaude says. In fact, this edition will stand out for its extensive social agenda, including the opening cocktail, the “Breakfast with the Film Commissioners: Latest ways to get your financing package finalized,” the “Producers’ Networking Drinks” or the “Asian Content Exchange Networking Breakfast.” PRODUCTION IN LATIN AMERICA. One of the main conferences about the Latin American market, scheduled for Wednesday 5 at 2:00 PM, will be held by TODOTV MEDIA. Leonardo Aranguibel (production director of Disney Media Networks Latin America), Martín Kweller (managing director of Endemol Argentina), Patricio Wills (president of Productions at RTI) and Denise Gomes (head of Bossa Nova Films) will all take part in a discussion dealing with topics such as original production in Latin America, new financing models, strategic alliances and business opportunities in a growing market. ttv

todotvnews.com | ttvmedianews.com Television & Entertainment Business News The #1 source on Latin American Markets (Google Analytics – July 2011)

Chile, Peru:

Committed to Original Production Broadcast TV grids in Chile and Peru have now started to focus on locallyproduced content, a trend that has spread across several Latin American countries including Brazil, Colombia and Ecuador. Below, ttv offers a complete report on the latest titles currently on the air in both markets. By Rodrigo Ros Twitter: @rostodotv rros@todotv.tv

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riginal productions that incorporate local audiences’ values are part of a consolidated trend that has been around for a while now and Latin America is no exception. Yet due to natural market sizes, this trend has been more clearly seen in large economic hubs such as Brazil, Mexico and most recently Colombia. Smaller markets only had modest projects of their own that were combined -and are still combined- with output deals signed with large production companies. In the case of telenovelas, these deals were usually signed with Globo, Telemundo or Televisa, to name just a few examples. The region’s current economic boom has repositioned some markets which are now daring to produce at a larger scale, obtaining more than satisfactory results. In this report, ttv examines two different cases in this trend: Chile, which already has substantial expertise and a respectable production infrastructure; and the Peruvian market, which is still growing strongly and has managed to surprise everyone. PERU: PLEASANTLY SURPRISING. It’s been a while since original production in Peru started to go through a very interesting renovation process. Toward the end of 2010

broadcast TV networks announced a year full of new releases that would take over the country’s primetime. The year started with premieres like ‘Yo no me llamo Natacha’, ‘Tribulación’ (América TV) o ‘Los Exitosos Gome$’ (Frecuencia Latina). These were original and different products for a market used to seeing taped content, mostly coming from Televisa’s catalog.

“The region’s current economic boom has repositioned some markets which are now daring to produce at a larger scale, obtaining more than satisfactory results.” In August, networks started to update their grids once again. The first premiere was ‘La Perricholi’, an ambitious adaptation set in the 1760s about famous characters in Peruvian history. The show launched August 8 at 9:00 PM primetime and airs Mondays through Fridays on America TV. The network has doubled its number of original productions and has launched

several new shows during 2011. “We have grown from US$65 million in 2003 to close to US$300 million in original productions for 2011,” Eric Jurgensen, general manager of América TV, told ttv during the latest Los Angeles screenings held in May this year. ‘La Perricholi’ by production company Chroma Producciones replaced ‘El Triunfo del Amor’. This is a good example of how original productions are gaining spaces on broadcast TV, in this case to replace a telenovela. Frecuencia Latina is competing in the 9:00 PM timeslot with its adaption of Argentine format ‘Lalola’ by production house Imizi Producciones, which is also responsible for adapting ‘Los Exitosos Gome$’ (original version of ‘The Successful Mr. And Mrs. Pells’). The network has achieved great success by choosing unusual products to air in the local market. The strategy has been very fruitful for the network which has, for instance, sold ‘Los Exitosos Gome$’ to network Telemundo for the US Hispanic market. This is a further

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The Successful Gome$ Frecuencia Latina

collateral effect of the original production phenomenon: international sales. Channel 2 also launched a show to compete with ‘Lalola’. It is another local production featuring different stories around Peru’s local grocery store or ‘La Bodeguita’, as they are known in Peru. This new production is the result of a co-production between the network and Mindshare Peru and also airs at 9:00 PM.

At an international level, several of the aforementioned productions -such as ‘La Perricholi’, ‘La Bodeguita’ or ‘Los Exitosos Gome$’- are distributed by Frecuencia Latina under the lead of Miki Ivcher. CHILE: ORIGINAL PRODUCTION AT THE TOP OF ITS GAME. The Chilean market stands out as one of the most active markets

With 17.6% of audience share, Chilevisión rises as the leading broadcast TV network so far. The network is defined by its constant search for new products -such as the network’s co-production with Mori Producciones ‘Karma’, which airs at 11:30 PMand its unquestionable audience leadership with hits like its primetime news show. Its grid features journalistic shows (a genre that is definitely important for the local audience), formats such as ‘Talento Chileno’ (based on the FremantleMedia original ‘Got Talent’) and TV films like ‘Infieles’, a comedy show that airs Thursdays at 10:00 PM and has been sold to the Televisa Networks pay TV channel Golden. Joining Chilevision in the top three are Mega and Channel 13. Mega is famous among

Chilean viewers for its wide range of formats, docu-reality shows and on-set programs. Such is the case of Endemol’s Wednesday show ‘Yo soy…’, as well as ‘133: Atrapados por la realidad’ -a docu-reality show that follows Chilean policemen in duty- and ‘Secreto a Voces’, a talkshow that has captivated audiences on Thursday nights. Channel 13 offers formats such as ‘Who Wants to Be a Millionaire?’ and new productions like ‘Peleles’, which premiered on July 26 at 10:25 PM. This production -represented in the global market by Latin Media Corporation- is the first TV series that the network produced for its audience. Next on the ranking is TVN which, despite its fourth place in terms of audience, has been responsible for major productions as well. This is the case of ‘Témpano’, a telenovela released in May that already has an exclusive web prequel that was launched on August 2. Represented by Telemundo Internacional, TVN is very strong worldwide, selling both its original products and formats. That has been, for example, the case of ‘Missing’. ttv

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In this way, Peruvian TV is showing two production models: one following expensive historical production standards and another one based on the flexibility of custom-made content.

in TV ad spending, number of premieres and local productions. This reality clashes with the high risks that networks undertake with their programming strategies and an economic landscape that shows an even distribution of advertising resources. First class formats, news shows or fiction productions: there is a place for every genre in Chile’s broadcast TV grids.

Noticias News ttv Licensing

Sanrio do Brasil Announces Partnership with Tycoon Enterprises Sanrio do Brasil announced it appointed Tycoon Enterprises as its license agent for its most popular brands in Mexico and Central America, looking to extend its licensed programs and develop deeper relationships with local retailers and licensees in order to take mega-brands such as Hello Kitty, Chococat and Keroppi a level further and deeper into the hearts of Latin American consumers. “Hello Kitty is the type of brand you come across once in a lifetime. It has a mysterious power over consumers of every age and nationality. We also expect to be developing other Sanrio assets very soon,” said Elias Fasja Cohen, Tycoon’s president.

Latin America

Entertainment Formats Continue to Take Latin America By Storm Caracol Televisión’s adaptation of the Endemol format ‘My Name Is’ premiered on August 22 and reported results that confirm the momentum entertainment formats are currently enjoying in Latin American broadcast TV. The show reached 42.7% audience share during the 8:00 PM timeslot, high above its closest competitor that managed to achieve only 29.1%. ‘Yo me llamo’ is a contest show that seeks a passionate music star that is just like his or her favorite music idol. “When you consider all music formats, this one has a special ingredient, as it gathers people who share the same passion: to sing exactly like their favorite artists. Caracol decided to start looking for these kinds of artists with a talent for music rather than for comedy, driven by the absolute success achieved by the Chilean version, which inspired the local production,” said Juan Esteban Sampedro, entertainment director at the network.

Colombia

Desperate Housewives Returns to Canal RCN The series depicting the everyday lives, responsibilities and problems of today’s women -with a touch of drama and black humor- returned to Canal RCN’s screen in August for its second season. The stories of its main characters took different turns as their lives were affected in sentimental, personal, professional and family-related ways. The new neighbors at the Manzanares neighborhood hide a secret that could put all the characters in jeopardy.

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Latin America

‘Minute to Win It’ Continues to Conquer the Region Sony Pictures Television’s 2waytraffic announced that it has scored further sales for its game show format ‘Minute to Win It’, thanks to new deals with Gama TV in Ecuador and Corporación Medcom in Panama. The game show has already been successful in a number of territories across Latin America. A second season has already made its debut in Uruguay (Teledoce) and Mexico (Televisa). The season premiere of the 26 one-hour episodes that Gama TV picked up for Ecuador aired August 7. ‘Minute to Win It’ is locally produced by Juan Zanelli and counts with Giuliana Maiocchi as host. In Panama, Corporation Medcom also commissioned 26 episodes, which are set to air next year. The game show also airs in Costa Rica (Teletica), Chile (TVN), Argentina (Telefé) and Peru (América TV). It is also expected to come back to Colombian TV on Caracol.

Executives ttv

The Eye

of the Hurricane

The TV industry lives its most dynamic moment ever. Fragmentation, mobility, multiple screens, new ways of consuming and content saturation are just part of this era’s features. Yet have business models changed that dramatically? In the middle of this apparent media storm, FremantleMedia keeps steadily walking the paths to success with a simple equation: a strong, traditional model plus diversification.

By Sebastian Torterola Twitter: @storterola_ttv storterola@todotv.tv

Idolos Brazil

“There is no indication that television is going to be eclipsed as a platform. In fact, it’s quite the opposite.”

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“As our properties are increasingly created to allow for multiple off-screen exploitations, the range of execution skills we require becomes broader than just TV production.”

he entertainment market has been taken by storm. In the last decade, we’ve witnessed the emergence of a long list of new ways of consuming content. New platforms, devices and content channels continue to relentlessly launch every year -every month- while growing exponentially. The result is a noisy audiovisual market, in which no one knows what platform will be ‘the one’. And so, no one knows what business model will finally rise victorious to integrate all of these platforms. But, is that so? Have things really changed in the TV business?

If you take the time to filter the overwhelming amount of information about TV and entertainment, it’s possible to see that some of the great pillars of the industry continue to be as strong as they were before the ‘360 multi-platform’ concept appeared. And widespread business models continue to prevail. “There is no indication that television is going to be eclipsed as a platform. In fact, it’s quite the opposite. The amount of television hours consumed by audiences worldwide is growing,” Gary Carter, FremantleMedia Enterprises’ COO, affirms. “The value of primetime and access primetime

Gary Carter,

to advertisers is growing, if only because it represents one of the last places in which to aggregate a mainstream, synchronised audience. Television is the dominant medium of the last century and this one, at least so far, and there is very little argument to be made otherwise.” This is definitely a strong statement that forces one to re-organize the entertainment map and think about strategies again. WHAT HAS CHANGED? This said, FremantleMedia’s business model could be summed up in developing great ideas, finding the right partner in each region and adapting these ideas for local audiences. “Where we don’t have an established production presence, we always try to find partners who we believe are a good collaborative fit with FremantleMedia and who are strong executors of ideas. In some territories, we later move on to invest in those companies in order to cement the relationship. This isn’t likely to change in essence, although as our core business model diversifies, and as our properties are increasingly created to allow for multiple off-screen exploitations, the range of quality partners, and the range of execution skills we require, becomes broader than just television production,” Carter says. On the other hand, it’s reasonable to ask about the evolution of the ‘entertainment show’ genre and whether audiences’ engagement has changed since ‘Big Brother’ became a global hit. The fact is that local formats continue to thrill worldwide audiences and local adaptation is still equal to profitability and brand building. “The understanding that ‘ordinary people’ made compelling drama (and comedy, for that matter), coupled with the relatively low cost of such production when compared to scripted shows, has been enormously influential. Competitive reality formats like ‘X Factor’, ‘Idols’, and others, remain strong and are enjoying enormous success, along with shows like ‘Got Talent,’” Carter notes. High ratings and worldwide distribution agreements, commissions and re-commissions are a clear demonstration of this.

DIVERSIFICATION. In what was previously described as a ‘traditional’ business model, diversification was the dynamic part and the exploration of new business areas. This allows FremantleMedia to synch its activities

“In October last year for example, we announced our first large scale move into the branded entertainment market with the acquisition of @radical.media.”

in a fast-moving market. “In October last year for example, we announced our first large scale move into the branded entertainment market with the acquisition of @radical. media, an exceptional global transmedia business that creates what is truly some of the world’s most innovative advertising and branded entertainment content,” Carter explains. This investment represented an extension of an ongoing relationship shared by both companies, which had partnered successfully on a range of projects within the FremantleMedia Enterprises division.

WeddingBand Drama

“Also toward the end of last year, we built on our very successful relationship with the leading games company Ludia by acquiring a majority stake in the company. Ludia creates a range of games for consoles and PCs as well as iPhone and iPad apps for some of our well-known classic shows such as ‘The Price is Right’, ‘Family Feud’ and ‘Press Your Luck’,” Carter says. This company has also moved into social games on Facebook with ‘The Price is Right’ and others. “Interactive gaming is an important way for us to diversify and this increases our expertise and capability in this area, allowing us to develop even more successful consumerfacing entertainment across multiple platforms,” Carter concludes. ttv

The Latin Touch Gary Carter also highlighted the good performance of FremantleMedia’s operations in Latin America, mainly in regard to new format sales and re-commissions. “This year we produced ‘Project Runway Latin America’ out of the US as well. In Brazil we produced series six of ‘Idols’, as well as ‘Mega Senha’ (‘Password’), ‘The Phone’ and ‘Projeto Fashion’ (‘Project Runway’) with ‘The Apprentice’, and ‘Hole in the Wall’ on the way. ‘Push The Button’ has been sold in Mexico and we are also producing the second series of ‘Password’, as well as ‘Poker Face’ and hit game show ‘100 Mexicanos Dijeron’ (‘Family Feud’). For the first time, FremantleMedia Mexico is producing a live show especially developed for the National Lottery - ‘Loteria Mexicana’. We’ve also worked very successfully with Wapa TV on the premiere series of ‘Idols’ in Puerto Rico. In Colombia we have shows such as ‘El Precio Es Correcto’ (‘The Price Is Right’), ‘The X Factor’ and ‘Duro Contra el Mundo’ (‘Hole In The Wall’/’All Star Athletics’),” he says.

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As for transformations, Carter perceives the growing positioning of a new variation of the genre: soft scripted shows. Pioneered in Germany, it refers to an emerging genre which he believes still has “a long way to go” and in which people “re-enact loosely-scripted versions of their own lives.” This is a new area for FremantleMedia which is “actively exploring” it in various markets around the world.

COO, FremantleMedia Enterprises

Driving Wars Entertainment

Executives ttv

ine years in the distribution arena have been enough for Cineflix Rights to go across the Atlantic Ocean to head its expansion throughout Europe and the Americas. Founded in 2002 and headquartered in London, the company currently has sales staff in New York, Toronto and Montreal, regions that nurture its heterogeneous and extensive 2,500-hour catalog. “Cineflix Rights is one of the UK’s fastest growing distributors. Our diverse catalogue includes factual, factual entertainment, formats and scripted series from both Cineflix Productions and our growing number of third party producers,” Sabrina Ayala, the company’s VP of sales & acquisitions for Latin America, Iberia and Italy, assures. Indeed, the Cineflix Productions division produces over 300 hours of programming for international broadcasters a year, including -apart from the aforementioned genres- reality shows, documentaries, dramadocumentaries, kids’ shows and formats. Having recently moved into formats and scripted programming, the executive states Cineflix’s growth is based on the increasing representation of third party producers and “our use of innovative funding techniques” for productions. “We feature in the top 10 in Broadcast Magazine’s prestigious surveys of UK distributors and were third in its 2010 Peer Poll. Furthermore, we source most of our thirdparty programming for distribution from the US, Canada, the UK and Australia. These are

advertisers. Our entry into scripted drama will also be sure to resonate with our Latin clients, as scripted entertainment is the most soughtafter genre in the market,” the executive says.

all strong territories for our sales as well, in addition to France, Scandinavia, Germany, Italy, Southeast Asia and Russia,” Ayala points out. LATAM/USH. The Latin American regions, coupled with the fast-growing Hispanic market in the US, are unavoidable priorities in Cineflix Right’s expansion priorities and the company has successfully managed to gain presence in an interesting number of Latin countries. This reality has also impacted its catalog’s composition. “We aggressively expand the number of hours of programs every year in our catalog, always with an eye to a Latin appeal. We look for programs where there is a sensibility towards the Latin cultures, where family programming is always important but so is a young adult demographic that is increasingly attractive to

“We source most of our third-party programming for distribution from the U.S., Canada, the UK and Australia.”

Sabrina Ayala,

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VP of sales & acquisitions, Latin America, Iberia and Italy, Cineflix Rights UK-based distributor Cineflix Rights, actively sourced by the Cineflix Productions division, continues to add content to its extensive catalog, with strong focus on Latin American clients. In addition to its on-air presence in screens from key pan-regional channels, the company looks to seal co-production alliances all over the continent. BY Sebastián Torterola Twitter: @storterola storterola@todotv.tv

As a company that feeds from a combination between rights acquisitions and production partnerships, Cineflix is eager to step into major markets in Latin America through coproduction alliances. “Argentina and Brazil are important as we continue to seek local production opportunities in these countries, following the success we had with ‘Nazi Hunters’ in Brazil,” she states. Indeed, this documentary series was coproduced with FOX Latin America in 2010 and most filming took place in Brazil. ‘Nazi Hunters’ won big at The 26th Annual Gemini Awards, bringing home two awards in the Best History Documentary Program and Best Direction in a Documentary Series categories. On the other hand, “Argentina has a massive production community and an infrastructure that can support the volume and quality we need in our productions for worldwide distribution,” she explains. Of course, Mexico can’t be left behind, and Ayala affirms it “will always be key” to the company’s sales efforts for its breadth of broadcasters and the sheer size of its market there. Therefore, Cineflix Rights’ calendar follows up every important tradeshow for Latin companies, with strong presence in events like MIPCOM, NATPE, LA Screenings and Latin Side of the Doc, complemented by aggressive local marketing. WIDESPREAD PRESENCE. This interest in Latin America isn’t casual at all. On the contrary, Cineflix has had great reception of its catalog in regional screens and many of its programs are currently airing for local audiences, mainly event-based documentaries, lifestyle and entertainment series and formats. Some examples are ‘The Opener’, following chef David Adjey as he helps amateur restaurateurs revamp their restaurants to ensure success on their opening nights, airing on Turner’s Glitz channel; ‘Nuclear Nightmare’, a documentary from ITN Productions on the nuclear fallout in Japan earlier this year, on National Geographic Channel; and ‘Instant Cash’, a game show where people are given the chance to win money for playing along in a series of fun challenges and trivia questions, which is coming soon to RCN TV in Colombia. Recent distribution deals include the following sales: ‘Cash Cowboys’ to National Geographic Channel Latin America; ‘Cash n’ Cari’ to History Channel Latin America; ‘Extreme Prison Breaks’ to Discovery Channel Latin America; ‘Garbage Moguls’ to Canal 22 Mexico; and ‘Cupcake Girls’ to MGM Networks Latin America’s Casa Club TV. ttv

Latin America

‘MIDNIGHT IN PARIS’ BEATS AUDIENCE RECORDS THE MOVIE -DISTRIBUTED BY TELEFILMS ACROSS THE REGION- broke audience records in Argentina, Brazil and Mexico, earning US$50 million in the US box office. This makes ‘Midnight in Paris’ Woody Allen’s biggest blockbuster ever. By August this year over one million viewers had already seen the movie in Brazil, 630,000 viewers had done so in Argentina and 330,000 in Mexico just three weeks after its premiere. Given its success, Sony Classics decided to re-premiere the movie in late August thereby launching its campaign for the Academy Awards.

Distribution

Power and Venevision Shake Hands

Acquisitions

VIP 2000 TV Acquires ‘Being Human’ VIP 2000 TV ACQUIRED BROADCASTING RIGHTS TO ‘BEING HUMAN’, the Zodiak series that is now in its second season on US channel SyFy. The story follows the adventures of three travelling companions: a vampire, a wolf and a ghost, who live in today’s world trying to lead a normal life among humans. According to Roxana Rotundo, CEO of VIP 2000 TV, the company is reinforcing its series catalog with shows that have already been successful in the US. Zodiak is confident that it will go along the same path in Latin America. “This series strengthens our commitment with teen content because it is in the same line as our telenovela ‘Luna Roja’, a mega production with a great story and fantastic special effects. We are getting ready to travel to Toronto and then to MIPCOM, where we will buy more material,” she said. The executive was happy about the results obtained by telenovelas ‘El Honor de Amar’ and ‘Los Exitosos Pérez’, currently on the air. “Being independent and scheduling telenovelas is very hard given the market’s fierce competition. Yet we have been successful thanks to our efforts and the acquisition of content with high-quality standards,” she added.

THE BRITISH PRODUCTION HOUSE AND VENEVISION sealed a deal that gives the Venezuelan broadcaster the rights to air over 100 hours of Power programming. Venevision will now air over 27 miniseries from the producer, including ‘Treasure Island’, ‘Neverland ‘and ‘Blackout’, which Power showcased at the last edition of the LA Screenings this year. ‘Flood’ and ‘The Day of the Triﬃds’ are also included in the deal. The news comes as no surprise after Power invested millions in content production in Latin America, looking to consolidate its high-quality library which is known for its timeless products.

Appointment

CRISTINA MANCINI WAS PROMOTED TO SVP OF WORLDWIDE MARKETING for Twentieth Century Fox Television Distribution. The announcement was made on Thursday, September 8, by Mark Kaner, president of the company. In her new role, she will now supervise all worldwide marketing efforts focused on film and TV programming distribution. Twentieth Century Fox’s recently-created Worldwide Marketing unit, which will support the company’s global initiatives as well as its pay TV and VOD partners, will be under Mancini’s lead. Cristina is based at the company’s Los Angeles headquarters and reports directly to Mark Kaner. It is worth mentioning that Mancini has been with the company since 2001, most recently as vicepresident of marketing, advertising and promotion. Before joining the company she held administrative positions at Universal Studios, New Line Cinema and Warner Bros.

TTV MAGAZINE/F&S

TWENTIETH CENTURY FOX APPOINTS NEW SVP OF GLOBAL MARKETING

TTVFilms&Series report Trends

Tom Hanks and Steven Spielberg The Pacific - HBO

F&S/TTV MAGAZINE

From the Silver Screen to TV Seeing Steven Spielberg -and other famous filmmakers- cross over from film to TV is a clear example of how TV production in the US has become a pretty big deal. A US trend that features astounding stories, universal audiences, powerful budgets and happy viewers. Por Sebastián Amoroso Twitter: @sebamoroso samoroso@todotv.tv

V screens have gained relevance since major producers and directors that used to belong to the big screen universe started to get involved in TV projects. And this cross-over has actually been quite successful. TV productions feature deeper stories and a stronger visual impact with high production budgets and all-star casts. And a clear of example from the very heart of Hollywood sliding down this trend is none other than Steven Spielberg (Ohio, 1946). The writer, producer and director is part of the talented 70’s generation, joined by other big names form the US film industry such as Francis Ford Coppola, Martin Scorsese or George Lucas, just to name a few. This decade gave birth to some master pieces of the silver screen such as ‘The Godfather’ (1972) and marked the beginning of the ultimate blockbuster productions with the release of titles like ‘Star Wars’ (1977), a saga fed by the development and exploitation of the merchandising business. SPIELBERG ON TV. Spielberg -and his production company DreamWorks- was engaged in some TV productions that are definitely worth mentioning. He teamed up with actor and producer Tom Hanks to produce ‘Band of Brothers’ (2001) ten years ago, a war miniseries made for HBO with an estimated budget of US$125 million that flabbergasted everyone around the world. This miniseries was awarded with an Emmy and a Golden Globe back in 2001. Another HBO production project reunited him with Tom Hanks and Gary Goetzman to produce the highbudget war miniseries ‘The Pacific’ (2010), which cost an estimated amount of US$120 million. Sometimes called “the one with the Midas touch” in Hollywood, Spielberg has produced season one of ‘Falling Skies’ (2011), a ten-episode fiction series for TNT that follows a chaotic alien attack on earth and human resistance against the invasion. Also this year, he is currently producing another sci-fi series called Terra Nova (2011) for Fox. This genre -his personal obsession- fits him just right: his resume includes films like ‘Close Encounters of the Third Kind’ (1977), ‘E.T.’ (1982), ‘A.I.:

TTVFilms&Series report

“Big names like Steven Spielberg have started to get involved in the TV industry and the large production budgets spent on these mega projects hasn’t really impacted the TV business model but can be seen in each show’s audiovisual narrative, target audiences and storytelling.”

Artificial Intelligence’ (2001) or ‘The War of the Worlds’ (2005). A two-hour pilot of ‘Terra Nova’, an epic story set in the year 2149, was showcased during the latest LA Screenings at the 20th Century Fox studios. Just the pilot’s budget for the series -which premiered on September 26was around US$16 million, a company source told ttv Preview. That big names like Steven Spielberg have started to get involved in the TV industry and the large production budgets spent on these mega projects hasn’t really impacted the TV business model but can be seen in each show’s audiovisual narrative, target audiences and storytelling. Series produced by studios must fit a global audience in order to secure

Discovery Channel as a tribute for the tenth anniversary of the attacks on the World Trade Center in New York. This personal testimony premiered September 6 on Discovery Channel. World Trade Center One is the heart of the US filmmaker’s story: 104 explosion-proof stories soaring 1,776 feet (in honor of the US’ independence) into the sky. And, on the ground, the faces behind the area’s reconstruction, portrayed by Spielberg’s camera and the pillars of his storyline. Spielberg leaves his well-known superproductions behind to focus on those wounded by the gravest terrorist attack on US soil to date. This emotional testimony was aired on Discovery Channel on September 6-11. ttv

Vicev3rsa ONE COMPLETELY DIFFERENT CASE IS THAT OF JEFFREY JACOBS ABRAMS (New York, 1966), better known as J.J. Abrams. The talented US writer, producer and director became a legend thanks to his very successful series ‘Lost’ (2004-2010) and ‘Fringe’ (2008-). Abrams’ career was born in the small screen and later jumped ship to produce blockbuster movies such as ‘Star Trek’ (2009) and ‘Super 8’ (2011).

F&S/TTV MAGAZINE

falling Skies Series

worldwide distribution. In the case of ‘Terra Nova’, the story has a universal flavor because it cannot be associated to one particular place on Earth and the talent of its narrative lies on its capacity to reach people who live thousands of miles away. Another project with the Spielberg signature brand is called ‘Rising: Rebuilding Ground Zero’, a six-episode testimonial miniseries made for

Super 8 Film

TTVFilms&Series interview

Tomás Darcyl, President, Grupo Telefilms

Co-producing in Hollywood

Grupo Telefilms couldn’t be doing better. After signing on to invest in the making of ‘The King’s Speech’ and ending up with an Oscar-winning movie in their hands, the company is dazzling clients with the success of Woody Allen’s ‘Midnight in Paris’, another Oscar favorite. And now, 2012 will also see them represent what producers are calling the next ‘Twilight’: ‘The Hunger Games’ saga.

W Tomás Darcyl,

President, Grupo Telefilms “We’re the Latin American co-producers of blockbuster films.” By Stephanie Biscomb

F&S/TTV MAGAZINE

Twitter: @sbiscomb sbiscomb@todotv.tv

The King’s Speech Director: Tom Hooper

hen it comes to Hollywood in Latin America, Grupo Telefilms is the first to come to mind. Despite having focused on offering movies for TV during several years, the company has recently swerved into the movie business itself, even funding Oscar-winning titles. And now, on the year of its 50th anniversary, Telefilms is now at the top of its distribution business led by films like Academy Award winner ‘The King’s Speech’ (best film, best director, best actor and best original script). Now the company has found yet another pot at the end of the rainbow with ‘Midnight in Paris’, Woody Allen’s latest blockbuster that broke box office records in the US and the main Latin American markets. In just three weeks ‘Midnight in Paris’ has already sold one million tickets in Brazil, 650,000 in Argentina and 330,000 in Mexico. These numbers are

absolutely promising considering that ‘The King’s Speech’ was seen by 560,000 people in Argentina and over a million in Brazil and Mexico. Focusing on this successful run, Tomás Darcyl, president of Telefilms, talked to ttv and announced what’s next for this thriving Latin American company. Considering ‘Midnight in Paris’ is a Woody Allen film, was its success expected or unexpected? The success achieved by ‘Midnight in Paris’ is a bit unexpected. To date, it’s become Woody Allen’s biggest box office hit ever, both in the US and in Argentina. For instance, 650,000 people have already seen it in Argentina and only 450,000 saw ‘Match Point’, which up until now was Woody Allen’s most important blockbuster there. The movie has been such a great success because of several factors. First, the fact that the leading role is played by Owen Wilson, an actor whose work is appreciated by both young and older people. The script is brilliant and simple and there are no interrupted stories but one single story that, even though the plot travels across time, is always very clear. And it also has beautiful Paris portraits; it’s a film made for the outside and not the inside. It is not a dark film but a film that shows hope and human features in a more positive way than Woody Allen is normally used to showing in his movies. It’s more of a family movie than his previous work. Do you think you might have another Oscar winner in your hands? Well, Sony Classics has just re-launched the movie in the US with 400 more copies in order to keep it current

TTVFilms&Series interview

some are successful and some fail. Someone in the industry once told me that one has to not celebrate as much during parties and one has to not suffer as much during wakes. Now we’re doing great and I feel we’ve hit the nail on the head with several movies. We’re very happy but we know this is a cyclic business. Of course when one is there from the start, it’s possible to triple or quadruple investments. We’re dabbling in a market that forces you to play along. The crisis in the US is getting worse so all the big Hollywood talent is turning to the independent market and we’re playing that game. Right now we’re getting access to major studio products like ‘The Hunger Games’ and surely others will come. Plus, I think all pay TV and broadcast TV players value that we’re not just in the television business but also neck-deep in the movie business. They like it that we’re involved with the movies’ marketing, that we’re there from the very beginning and that we actually help fund each movie. In some way, they feel we’re bringing them a product where we’re not just mere mediators. We’re the Latin American coproducers of blockbuster films. That’s a radical change because they feel more comfortable with us in this position than if this were just your typical trade.

F&S/TTV MAGAZINE

Midnight in Paris Director: Woody Allen

and start its Oscar campaign. They want the movie to still be on theatre screens when all the Academy Award buzz starts rolling in. You never know, but it does have Oscar potential. First ‘The King’s Speech’ and now ‘Midnight in Paris’… what’s next for Telefilms? We are now launching what we call the new Telefilms mega product, a huge popcorn movie that is really even bigger than any other movie we might have had. This one is going to be one of next year’s largest hits and I’m obviously talking about ‘The Hunger Games’, based on Suzanne Collins’ three bestsellers. The books have already been a success in the US for many years now and the producer’s idea is to turn this saga into the new ‘Twilight’. For Latin America, we’ve already started working on the movie’s marketing in Mexico, Argentina and Brazil, making sure the books are available in these three markets before the movie arrives. We’re doing this job with our own company Diamond Films in Argentina, with our partners Videocine in Mexico and with other partners in Brazil. Telefilms was one of the first investors for ‘The King’s Speech’. Are you also investing in ‘The Hunger Games’? We always invest in new movies: that’s actually part of our business model. We’ve been in the movie business for 10 years now and have doubled our stakes in the last 18 months. We’re now constantly betting on products and, as everything in life,

What do you think about new services like Netflix and other OTT and streaming options that are landing in Latin America? Will these affect the business? The market is going through a radical change and I think new technologies and new players are always welcome, be it Netflix or any other company. I think that OTT services will particularly recover the market share and the business that was lost 15 to 20 years ago to piracy. In Chile, Argentina and Peru, video services do not even exist so people will prefer to pay a small monthly fee and have access to good content than buying pirated DVDs, which can come without subtitles or scratched. I think it will recover that regardless of if they will compete or not with linear services. What we can say now is that we will do whatever we can during this period with our mega product to keep the traditional relationships that we have always had. What else do you have in store for 2012? We’re also opening Diamond Films, our cinema-focused distribution company, in other Latin American territories. I can’t give out all the details yet but we’re already on it. It’s the cherry-on-top for this brilliant stage we’ve gone through. The company’s doing great, we’re growing a lot, travelling a lot and we’re employing new people because we need to be ready for what’s next. That said, the company is obviously changing. Even though we’ve been in the movie business for 10 years now, it’s been changing for the last two. We’re happy about that and we’ll be arriving at MIPCOM energized to once again spend some time with our friends there. ttv

Monster In-Laws

The Truth About Marika

Prison Diaries

Driving Wars

A+E Networks

BANIJAY INTERNATIONAL

CABLEready CORPORATION

Cineflix Rights

235 East 45th Street New York, NY 10017 Tel: +1-212-210-1400 / Fax: +1-212-907-9476 Website: www.AETNinternational.com E-mail: intl.sales@aetn.com Stand: G3-18

Mosedalvej 14 - 2500, Valby, Denmark Tel.: +45.36.18.84.84 E-mail: sales@banijayinternational.com Website: www.banijayinternational.com Stand: The Banijay tent, opposite to the front entrance of the Palais

98 East Avenue, Norwalk, CT 06851-5029, USA Tel.: +1 203 855 7979 Fax: +1 203 855 8370 E-mail: info@cableready.net Website: www.cableready.net Booth: R31.17

Executives Attending

Barley Mow Centre, 10 Barley Mow Passage, W4 4PH, London, UK Tel.: +44 (0) 208 996 1810 Tel.: +44 (0) 208 996 1811 E-mail: sales@cineflix.com Web: www.cineflixrights.com Stand: R 37.20

Executives Attending

Sean Cohan, Senior Vice President, International Christian Murphy, Senior Vice President, International Programming & Marketing Ian Jones, Managing Director, International Content Sales & Commercial Development Michael Katz, Vice President, International Programming & Production Mayra Bracer, Latin America Television Sales

TOP EXecutivE

Jonathan Tuovinen, Head of Sales for Southern Europe, the Middle East, Africa and South America Sebastian Burkhardt, Head of Sales for Northern Europe, the USA, Canada and Asia Luci Burnley, Head of Sales for the UK, Australia, New Zealand and Eastern Europe Fanny Baudry, Global Acquisitions Executive

Lou Occhicone, Senior VP of Operations Peter De Jong, VP of Sales & Marketing Tatiana Figueiredo, Director of Sales Reess Kennedy, Director of Digital Media

(Real-Life Change, Format - 13 x 30’) In-laws - most people have them... and in most cases, people have issues with them. Monster In-Laws shines a light on married couples who are at the boiling point with their overbearing in-laws. Each episode features a spouse in between their parents and the person they married, desperate to save their relationships and reconcile deep-seated family feuds along the way. After setting up the relationship and the stakes of their impending reunion, viewers see them move in together, and observe as all of their nightmares come to fruition. Seasoned relationship experts will come in and use unconventional tactics to make them face their issues and hopefully restore their families.

Raising the Titanic (History - 1 x 120’)

To commemorate the 100th anniversary of the sinking of the Titanic in April 2012, ‘Raising the Titanic’ seeks to answer these questions once and for all. In a major, exclusive underwater expedition, producers partner with Woods Hole Oceanographic Institute and RMS Titanic, Inc. to conduct the most extensive exploration and imaging of Titanic’s wreck site ever undertaken.

The Hunt for the I-5 Killer

F&S/TTV MAGAZINE

(Movie - 1 x 120’)

Starring John Corbett (‘Sex and the City’), Sara Canning (‘Vampire Diaries’), and Tygh Runyan (‘Snakes on a Plane), ‘The Hunt for the I-5 Killer’ follows the gripping year-long manhunt for the killer who raped and murdered his way up and down the I-5 highway corridor through California, Washington, and Oregon in 1981, leaving 44 victims in his wake.

TOP EXecutivE

Gary Lico, President & CEO

Sabrina Ayala, VP of Sales and Acquisitions for Latin America, Iberia, and Italy

Karoline Spodsberg, Managing Director

Prison Diaries

Driving Wars

‘Prison Diaries’ takes the viewer on an exclusive and harrowing journey inside the female criminal mind, to discover why the women who are incarcerated in America’s prisons, don’t just hurt the people they love, they have been found guilty of murdering them.

‘Driving Wars’ follows teams of drivers in the ultimate driving competition where state-ofthe-art robotics and radio control technology combine to create real remote control cars!

(Crime/Factual/Documentary, 6 x 60’ HD)

Monster In-Laws

Sabrina Ayala, VP of Sales and Acquisitions for Latin America, Iberia, and Italy

TOP EXecutivE

Steve Ronson, Executive Vice President, Enterprises

Executives Attending

The Truth About Marika (Drama - 45’)

Emmy winning participation drama. Every year thousands of people disappear without a trace. Marika was one of them and she disappeared on her wedding night. Witness a visionary new approach to television drama: an unsolved mystery put in the hands of the viewers. This is participation drama - fiction without limits. Using internet services, search engines, GPS and chat rooms the participants piece together the puzzle. Everything is staged, but the search unites the nation.

Tempted

(Reality, 60’) The sizzling new realty show where temptation lies around every corner, and everything comes at a price. How far will you go?

Love Trap (Reality, 30’)

Too shy to ask your secret crush out on a date? Let us help you lay the perfect trap…

Celebrity Stand-Up (Entertainment, 30’)

Comedy competition meets intimate celebrity interview as brave stars face the ultimate challenge.

Esther Extraordinaire

(Lifestyle/Entertainment, in development) Esther Tracy is not your average designer! Her motto? “Too much is never too much.” And she means it. Her bold, opulent and often, complete excess when it comes to her personal appearance and decorating style has resulted in a stable of faithful clients who have gobs of money to spend on interior design.

House Of Bats

(Entertainment/Investigation, in development) They’ve been called demons and vampires. They’re the most unwelcome houseguest anyone will ever have. And it doesn’t take long before you realize that you and your family are outnumbered. We’re not talking paranormal activity here. Your home has been invaded by …bats! - the most feared animal in North America-. These creepy interlopers have made themselves at home and they can do more damage to your house than a pack of rowdy frat boys. Who you gonna call? Benny and Kenny!

Avec Eric

(Lifestyle/Food, 23 x 30’ HD) Life is a journey. Some people snap photos along the way. Others write stories. Some sketch. Eric Ripert cooks. Mix in some good friends and great locations and you’ve got a truly transcendent experience. Eric shows you how to turn a simple meal into a shared adventure.

(8 x 60’, Entertainment, Format)

Paranormal Home Inspectors (Entertainment, 13 x 30’)

‘The Paranormal Home Inspectors’ combine traditional and supernatural approaches as they get to the root of why bizarre occurrences happen in seemingly normal homes.

Design Dealers

(Entertainment, 8 x 60’) Meet Sarah and Paul- they’re the Design Dealers who scour the roads of Britain in search of unique objects they can rescue, refurbish, and resell.

The Millionaire Tour

The Proposal

Content Television 19 Heddon Street, London, W1B 4BG, UK Tel.: +44 (0) 207 851 6500 Fax: +44 (0) 207 851 6504 firstname.surname@contentmediacorp.com info@contentmediacorp.com Website: www.contentmediacorp.com Stand: RB.44 Stand Tel: +33 (0) 4 9299 8811

Executives Attending

Greg Phillips, President Saralo MacGregor, EVP Worldwide Distribution Jonathan Ford, EVP of Digital Acquisitions and Distribution Bob Kennedy, EVP Non-Fiction Programming Kathryn Rice, SVP European Sales and Acquisitions Melissa Wohl, SVP Worldwide Distribution

Echo Bridge Entertainment

Two Alhambra Plaza 9th floor, Coral Gables, FL33134, USA Tel.: (+1) 305-567-3785 Fax: (+1) 305-774-3913 Stand: Riviera Beach 3

8383 Wilshire Blvd., Suite 530 Beverly Hills, CA 90211 Tel: 1.323.658.7900 Fax: 1.323.658.7922 Website: www.echobridgeentertainment.com E-mail: info@ebellc.com Office: RB.33

Executives Attending

Henri Ringel, VP, Distribution Jack Morera, Director, Distribution Leonardo Aranguibel, Director, Production Fabiola Bovino, Senior Manager, Marketing

TOP EXecutivE Fernando Barbosa, SVP Distribution and Production

Revange

(Special Event) Content Television is teaming with Europe’s leading Mixed Martial Arts promoter BAMMA (The British Association of Mixed Martial Arts) to debut a series of new high-octane sports events to the international marketplace.

Young Dracula Season 3

(Comedy Drama Series - 13 x 30’ / 40 x 30’) HD Four years on and Vlad and his meddling father The Count are back in the brand new season of ‘Young Dracula’, CBBC’s BAFTA nominated gothic comedy drama for kids.

Miss Behave

(Multi-Platform Teen Drama Series - 22 x 6-10’) HD The story of Tori Archer, an affluent Malibu girl growing up without much guidance from her mega-successful parents, as she succumbs to peer pressure, making poor choices that cause irrepressible situations and problems.

TOP EXecutivE

(Film)

BAMMA

(Live Action Series) Emily Thorne (Emily VanCamp) is the newest arrival in the Hamptons this summer. By all appearances, she’s a friendly and sophisticated “girl nex t door,” whose disarming charm and generosity allow her seamless access to the restricted circles of Hamptons high society. But the affluent, exclusive world she’s immersed herself in is tied to a dark family history, and Emily Thorne is anything but what she seems.

Executives Attending

Jens Richter, SevenOne International

TOP EXecutivE

Emilia Nuccio, SVP, International Distribution Melissa Caron, VP International Sales, Europe Sonia Mehandjiyska, VP International Sales, Eastern Europe John Neill, Asia Pacific Sales Susan Hewitt, International Sales

The Proposal

Starring ‘Lost’’s Dominic Monaghan, high-action thriller ‘The Millionaire Tour’ follows Greg Newman, a 40 year-old salesman who gets into an airport taxi not knowing that he is about to take the ride of his life.

(Multi-Platform Drama Series - 15 x 6’ / 90’ feature version also available) HD

SevenOne International Medienallee 7, 85774 Unterfoehring, Germany Tel.: +49 89 9507 2320 Fax: +49 89 9507 2321 E-mail: sales@71int.com Website: www.71int.com Stand: H4.12

Executives Attending

Daniel March, President, International

When high-powered book editor Margaret (Sandra Bullock) faces deportation back to Canada, she declares that she’s actually engaged to her put-upon assistant Andrew (Ryan Reynolds), who she’s tormented for years. He agrees to participate in the charade, but on the condition that they head to Alaska to meet his quirky family. Margaret finds herself in one comedic fish-out-of-water situation after another as she and Andrew reluctantly vow to stick to the plan despite the precarious consequences.

The Millionaire Tour

Lilyhammer

Disney Media Networks Latin America

TOP EXecutivE

Diana Zakis, VP Sales, Latin America and Asia

Messages Deleted

Messages Deleted A screenwriting teacher is forced to live out the plot of a screenplay idea he stole from a student, who now seeks reveng

Fear Island Trapped on a secluded island, five friends become prey to a mysterious killer seeking revenge.

Hirokin Hirokin, a reluctant warrior with a dark past, must fulfill his destiny when forced to choose between avenging the murder of his family and fighting for the freedom of a people long abused.

Degrassi: Season 11 The Emmy nominated teen series that brings to light the issues affecting teens today. In season 11 new friendships are formed, old relationships are tested and rivalry among students reaches new levels.

Pearl Jam Twenty (Documentary – 109’)

Academy Award winning director Cameron Crowe’s documentary on the band Pearl Jam that marks their 20th anniversary.

Jens Richter, International

Lilyhammer

(Dramedy - 8 x 45’) After entering the Witness Protection Program, mobster Frank “The Fixer” Tagliano is sent to Norwegian town Lillehammer - despite its peaceful surroundings, he quickly gets involved again in shady dealings… starring Steven van Zandt (‘The Sopranos’).

Betty White’s Off Their Rockers (Hidden Comedy - 12 x 25’)

Emmy Award winning actress Betty White orchestrates a band of fearless senior citizens as they roam the streets pulling hilarious pranks on the younger generation.

The Greening of Whitney Brown (Adventure - 1 x 90’)

Whitney, a spoiled pre-teen, is forced to move to the country where she befriends an amazing horse - featuring Brooke Shields, Aidan Quinn, Kris Kristofferson, Sammi Hanratti.

Louie Spence Dance Project (Reality Docu Series - 6 x 45’)

After having a gigantic hit with the show “Pineapple Dance Studio”, Louie Spence has now been commissioned by Broadway Dance Studio to come to New York and bring a breath of fresh air.

You Deserve It! (Game Show)

It’s better to give than to receive – created by Dick de Rijk (‘Deal or No Deal’) this is the first game show where a contestant is not playing for himself, but for someone deserving it.

TTV MAGAZINE/F&S

Spartacus: Vengeance

The Man Of Your Dreams

Lake Effects

STARZ MEDIA LLC

TELEFE INTERNATIONAL

TELEFILMS

Vision Films Inc.

2950 N. Hollywood Way 3rd Floor Burbank, CA 91505 Tel.: 818.748.4160 E-mail: info@starz.com Website: www.starzglobal.com Stand: RSV25

Prilidiano Pueyrredón 2989 2nd floor – B1640ILA – Buenos Aires, Argentina Tel.: (5411) 4308-5810 E-mail: sales@telefeinternational.com.ar Web: www.telefeinternational.com Booth: RSV 14 – Riviera Sea View

Av. Libertador 1068 PISO 11, Buenos Aires, Argentina. Tel.: 5411 5032 6000 Fax.: 5411 5032 6099 Website: www.telefilms.com.ar Stand: 09.05

Executives Attending

14945 Ventura Blvd., Suite 306, Los Angeles, CA 91403 USA Tel.: 1-818-784-1702 Fax: 1-818-788-3715 Website: www.visionfilms.net E-mail: sales@visionfilms.net Stand: R29.33

Alisha Serold, Vice President, Worldwide Distribution Cynthia Burnett, Director of Sales and Operations Todd Bartoo, Manager of Sales

TOP EXecutivE

Gene George, Executive Vice President, Worldwide Distribution

TOP EXecutivE

Spartacus: Vengeance

Fernando Varela, Director of International Business Area

(Live Action Series, 10 x 60’)

On the heels of the bloody escape from the House of Batiatus that concluded ‘Spartacus: Blood and Sand’, the gladiator rebellion continues and begins to strike fear into the heart of the Roman Republic in ‘Spartacus: Vengeance’. Gaius Claudius Glaber and his Roman troops are sent to Capua to crush the growing band of freed slaves that Spartacus leads before it can inflict further damage. Spartacus is presented the choice of satisfying his personal need for vengeance against the man that condemned his wife to slavery and eventual death or making the larger sacrifices necessary to keep his budding army from breaking apart. Containing all of the bloodsoaked action, exotic sexuality, and villainy and heroism that has come to distinguish the series, the tale of Spartacus resumes in epic fashion.

Magic City

(Live Action Series, 10 x 60’) Miami Beach, New Year’s Eve, 1958-1959. Castro’s rebels seize Havana, while the Kennedys, the mob and the CIA all hold court at the luxurious Miramar Playa Hotel. This is Ike Evans’ place, and he used mob boss Ben “The Butcher” Diamond to finance it. With diving clowns by day, and escorts at night, nothing’s what it seems in the Magic City.

Dan vs.

(Animated Series, 40 x 30’, Season 2 in production)

F&S/TTV MAGAZINE

Larry Crowne

Dan is a loveable cynic who, along with his reluctant sidekick Chris, haphazardly seeks revenge against the frustrations of modern life that -- whether in reality or in his imagination -- conspire against him.

Ricardo Costianovsky, CEO Humberto Delmas, Sales Manager Alfredo Andreoti, Sales Manager Alejandro Carballo, Sales Manager

TOP EXecutivE

(Romantic Comedy, 1 x 98’) After losing his job, a middle-aged man (Tom Hanks) reinvents himself by going back to college, where he calls his teacher attention (Julia Roberts).

Guillermo Francella and Juan José Campanella are together for the first time in Argentine TV to make a high-quality episodic series, after the historical success of Academy-Award winner “El Secreto De Sus Ojos” (The Secret In Their Eyes). Guillermo Francella plays Hugo, a single father who is unemployed and asks his Cousin Gloria for help. She employs him in her match-making agency for single women and he becomes the ideal candidate to introduce clients.

‘Midnight in Paris’ is a romantic comedy that follows a family travelling to the city for business. It includes a young engaged couple that has their lives transformed throughout the journey. The film celebrates a young man’s great love for Paris, and simultaneously explores the illusion people have that a life different from their own is better.

WHEN YOU SMILE

Acclaimed in last Cannes Film Festival, Pedro Almodovar’s new film loosely adapts Thierry Jonquet’s 1995 novel ‘Mygale’. A brilliant plastic surgeon, haunted by past tragedies, creates a type of synthetic skin that withstands any kind of damage. His guinea pig: a mysterious and volatile woman who holds the key to his obsession.

‘When you smile’ is fiction with lots of comedy and lots of romance aimed at the whole family to have fun and emotion and it is starred by renowned actor Facundo Arana and Julieta Díaz, with a first-class cast made up by Mario Pasik, Benjamín Rojas, Mariana Esposito, Mercedes Funes and Julia Calvo, among others. It tells the story of how the life of a successful professional which is programmed hour by hour, day by day and month by month is suddenly disrupted by the arrival of a son whose existence he ignored and a father whom he would have preferred not to know. }

TOP EXecutivE

Lise Romanoff, Managing Director / CEO, Worldwide Distribution

Larry Crowne

Midnight in Paris

(Romantic sitcom, 150 x 60’)

Worldwide Distribution Adam Wright, Executive VP, International Sales & Acquisitions Vincent Tola, International Sales & Acquisitions Executive

Tomás Darcyl, President

THE MAN OF YOUR DREAMS (Comedy, 13 x 60’)

Executives Attending

(Comedy, 1 x 111’)

The Skin That I Live In (Drama, 1 x 120’)

The King’s Speech (Drama, 1 x 118’)

This is the true story of King George VI of Britain, the father of the current Queen Elizabeth II in his ascension to the throne. Plagued by a dreaded nervous stammer and considered unfit to be King, a speech therapist helps him be worth it. It is a story with Colin Firth, Geoffrey Rush and Helena Bonham Carter.

Lake Effects

(Family/ Drama - 90’) When her father unexpectedly dies, a highpowered attorney comes back to the magical lake house where she grew up to reevaluate her life and rediscover the values she left behind.

Beautiful Wave

(Family/ Drama - 98’) While on a road trip in search of the perfect surf spot, an introverted teen girl discovers an ancient family secret that unlocks the door to her own self discovery.

Unscripted

(Series - 175 x 30’) Celebrities tell us their own story in their own words including: Hugh Hefner, Ron Perlman, Lou Diamond Phillips, Dolph Lungren, Jane Seymour, and many more.

Into The Cold: A Journey Of The Soul (Documentary - 87’)

Widely acclaimed environmental advocate, photographer, and polar explorer Sebastian Copelands dramatic expedition to the North Pole, treks 400+ miles on foot through a magnificent environment that is rapidly vanishing.

Coral Reef 3D (Documentary - 45’)

Enter the fascinating world of the world’s most beautiful coral reefs in 3D.

Executives ttv

In the following interview, the executive tells ttv all about the Colombian broadcast channel’s lineup for the upcoming edition of MIPCOM, with the series ‘El Joe’ standing out as its main highlight. Por Sebastián Amoroso Twitter: @sebamoroso samoroso@todotv.tv

María Lucia Hernández, International Sales Director at RCN Television

he upcoming edition of MIPCOM will be held in Cannes (France) on October 3-6 and the international division of Colombian broadcast TV channel RCN Televisión will present a diverse lineup of titles. Its catalog’s highlights include series ‘El Joe’ (HD - 102x60’), ‘Traffic with the Innocent’ (HD - 83x60’), ‘The Butterfly’ (HD - 60x60’), ‘Three Miracles’ (60x60’), and telenovela ‘The Blessed Ones’ (120x60’).

“We know how to do 100% Colombian products.”

comedy.” RCN Televisión is then committed to offering a “high-quality, striking and successful production lineup,” the executive said. Following current market trends, this edition of MIPCOM will be a time to focus on European and Asian markets, without disregarding the clients it already has in the Hispanic market. “We are working hard to consolidate our business in the European market, especially in Eastern Europe, Spain and Russia, where there is an increasing demand for telenovelas,” Hernández said. The company’s international division is currently seeking business opportunities for RCN productions across these markets. In the past, productions like ‘Yo soy Betty la Fea’, ‘Pura Sangre’, ‘Hasta que la Plata Nos Separe’ or ‘La Hija del Mariachi’, among others, have been successful in these markets. RCN Televisión also owns an extensive format catalog. “RCN plans to offer taped content and also scripts to be later adapted in each territory under the supervision of RCN Televisión, which has plenty of experience creating universal stories adaptable to different cultures,” Hernández said. “Our main goal is to open new markets and consolidate the ones that have trusted in our successful products for years.” ttv El Joe Series

‘El Joe “has since the beginning remained at the top of our primetime slot with an average of 16.6 rating points,” María Lucía Hernández, international sales director at RCN Televisión, told ttv. “Since its premiere it became Colombia’s highest-rated show among private channels with 23.7.” Series ‘Traffic with the Innocent’, starring Margarita Rosa de Francisco and Peruvian actor Salvador de Solar, “will soon start airing in nine countries,” Hernández said.

This confirms that Colombia has definitely become one of the largest TV producers in Latin America. “We know how to do 100% Colombian products and custom-made products for other markets and countries,” Hernández said. “RCN was without a doubt the first one to produce what today is universally known as the ‘Colombian telenovela’, a genre that combines drama with everyday life and

Netflix and Rcn Television The release of Netflix in Latin America and the Caribbean has driven many open TV channels to sign content agreements with the American streaming company. RCN Televisión closed a deal for several years and for a significant number of hours. The agreement combines “a variety of content featuring telenovelas and series with RCN’s signature quality, which we are sure will please Netflix subscribers,” Hernández said. “Working with Netflix’s team has been a very positive experience. The agreement lets viewers in all of Latin America, including Brazil and the Caribbean, to enjoy many of RCN Television’s productions.”

TTV MAGAZINE/83

UNIVERSAL STORIES. Over the past few years Colombian TV productions have rised to the top in the continent. “Years of experience in making and producing TV make RCN an expert in all kind of telenovelas, from traditional telenovelas to musical and comedy productions, as well as in every current trend,” the executive said.

Reportaje PAY TV IN LATIN AMERICA

Times Are a-Changin’

Triple play, quad play, PPV, HD, VOD, OTT or TV Everywhere are the latest neologisms that Latin American pay TV has adopted over the past few years. A continent that went through the worst financial crisis is today experiencing a period of economic prosperity that is certainly impacting on pay TV growth, in terms of both penetration and audiences. Driven by a booming C class that has started to gain access to these services, pay TV penetration is over 60% in four of the seven most important markets in the region (Argentina, Brazil, Chile, Colombia, Mexico, Peru and Central America) according to consulting agency IBOPE. The following report quotes some of the main players in the region as they announce their new services and talk about current pay TV trends. By Sebastián Amoroso

By Sebastián Torterola

Twitter: @sebamoroso Twitter: @storterola_ttv samoroso@todotv.tv storterola@todotv.tv

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Gary McBride, president and executive director of the Latin American Pay TV Advertising Council (LAMAC), told ttv that the pay TV business in Latin America is growing strong. “We have seen explosive growth in pay TV penetration in countries that had traditionally been indifferent to this trend. DTH, among other systems that have landed in Latin American countries -such as Brazil, Chile and Mexico- have caused pay TV penetration to grow significantly. This means that today more homes in the region have access to international channels,” the executive said. LAMAC prepared a report that shows how much pay TV has grown during the first half of 2011 in penetration and audience. Current penetration is over 60% in four out of the seven markets surveyed by consulting agency IBOPE in the region (Argentina, Brazil, Chile, Colombia, Mexico, Peru and Central America). Pay TV then stands out as the absolute leader of the local scene due to its massive reach among all population sectors. Argentina and Colombia stand out for being “mature” markets, considering the number of home and/or individuals with pay TV access compared to the total number of TV homes. Penetration in both markets reaches 78% among individuals, according to IBOPE. Peru and Chile have also recently gotten closer to the top two, and today enjoy about 60% of penetration, according to the same source. Argentina, a country that used to be the largest in the region, is now number three with 8 million homes consuming pay TV content. Mexico and Brazil are the leaders in market size at least in terms of total households with at least one kind of pay TV service. Both of these countries have over 10 million pay TV homes and are the fastest growing pay TV markets. Within the past year, pay TV penetration grew 31% in Brazil and 15% in Mexico and numbers show that about 100,000 new homes subscribe to pay TV every month.

“These market changes recorded all across the region are useful to explain how the pay TV industry will develop in the coming years. We will see significant growth in pay TV penetration, as well as increasing audience figures, which are supposed to result in larger ad spending budgets for the sector,” McBride said.

Alejandro Puente, president of Mexico’s CANITEC (National Industry Chamber of Cable Telecommunications) said that the organization intends to encourage its members to include new and better services in their pay TV packages, such as mobile telephony, 3D TV and faster broadband connections. As for telcos venturing into the pay TV business, Puente said that the only company that isn’t allowed to offer TV services in the market is Telemex. “All other telcos can do so without any restrictions. In fact, companies like Maxcom, Axtel, Iusatell and Telefónica have received funds from the Federal Government to offer pay TV services in Mexico,” he said. He also explained that as long as the rules are clear and the law respected, CANITEC will not oppose competition: after all, the organization has already gotten used to it after years of operating in the digital TV business. Illegal content trade is still a major issue in Mexico’s pay TV industry despite the numerous measures taken to bring the number of pirate users down. “Channel digitalization in pay TV has definitely helped companies have a more accurate control over their subscribers and has also brought significant reductions in piracy,” Puente said. Networks that have digitalized almost 100% of their programming show piracy rates that are very close to zero.

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Gary McBride, President and Executive Director of the Latin American Pay TV Advertising Council (LAMAC)

Alejandro Puente, President of Mexico’s CANITEC (National Industry Chamber of Cable Telecommunications)

MEXICO | CABLEVISIÓN Jean Paul Broc, general director of Cablevisión, announced in July a new 3MB broadband package at only 149 Mexican pesos which joined its 20MB offering. The company is also carrying out tests to offer value-added services to its customers such as TV Everywhere, which it is testing with 100+MB broadband connections on its new DOCSIS 3.0 platform. The Mexican company also continues to add new channels to its HD TV service. “We already have 39 HD channels and hope to have ten more by the end of the year,” the executive said. “As for VOD, we keep adding new titles from major studios and reducing premiere windows,” he said. And what about piracy? Broc said that “as everybody knows, this is a phenomenon that will always exist as long as radical measures are not put into operation, such as changing the analog network to a 100% digital system.” With this in mind, Cablevisión took three years to implement the digital shift in 2003. “By 2006 our piracy problems were eradicated. Mexico City used to have two pirates for every active customer,” he said.

Jean Paul Broc, General Director of Cablevisión TTV MAGAZINE/85

Pay TV audiences are growing steadily all across the region, even within so-called mature markets. This phenomenon is evidenced by several indicators, such as audience share and TV viewing time in hours per day. For instance, pay TV audience share in Brazil has grown as much as 30% over the past year, and viewing time is up 16%, according to IBOPE.

MEXICO | CANITEC

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Enrique Yamuni, Founder and Director of Megacable

86/TTV MAGAZINE

Nicolás González-Revilla, President of TEPAL (Organization of Telecommunications Associations and Companies for Latin America) and general manager of Cable Onda

Eduardo Stigol, CEO of Inter

Broc said that pay TV in Mexico has grown among the lower social classes, especially with DTH platforms. Why? “Mainly because of a substantial reduction in prices and the possibility of offering packages with fewer channels,” the executive said. As for cable systems, “there are still bundled services, featuring a growing number of double and triple play offerings. Other services such as broadband and fixed telephony also report significant growth all throughout the Mexican Republic,” he added. “Competition is now getting tougher and tougher and customers are going for packages that offer better prices and customized services,” he concluded.

MEXICO | MEGACABLE Enrique Yamuni, founder and director of Megacable, talked about the operator’s performance and shared some numbers. The operator closed the first quarter of 2011 with 1,744,911 subscription TV customers (33% penetration rate), 590,526 internet subscribers (11% penetration rate) and 442,955 telephony subscribers (8% penetration rate). Today Megacable has the capacity to deliver PPV services across 120 Mexican cities. “Our offering consists of 13 Hollywood movie channels and six adult channels. The price per film event is US$3 and access to adult content costs US$8,”Yamuni said. The company also has a free VOD, SVOD and transactional VOD service throughout Mexico’s five main capital cities (Guadalajara, Puebla, Hermosillo, Culiacán and Torreón) and these services will soon be also available in the cities of León and Veracruz. The operator will soon launch its HD service in Megacable’s main branches, featuring 16 to 20 channels. “We currently have two to four HD channels in every market and offer our digital services to 95% of all networked households,” the executive said. The company estimates that 4% of its subscribers are pirate users, even though there are some conflictive areas where this number may be larger. In 2010, “Megacable decided to digitalize most of its subscriber base so in the past 12 months over 1.5 million digital set-top boxes have been installed to solve the problem in its full extent, increasing the number of subscribers in these areas and ARPUSs due to consumption of additional products,” Yamuni said. The seasoned executive sees a growing market but considers penetration rates to still be low compared to other regions. “There are new competitors that have made the market grow and some changes in use, preferences and habits have led consumers into giving more value to pay TV services. Plus the market exhibits greater purchasing power,” the executive said. In this landscape, the Mexican company will focus on offering a larger amount of content, not only for TV but also for emerging platforms

and cross-platform screens. It also intends to deliver faster internet speeds and a new mobile telephony service. “We will be able to offer very attractive quad play packages to new subscribers,” he concluded.

PANAMA | TEPAL/CABLE ONDA Nicolás González-Revilla, resident of (Organization of TEPAL Telecommunications Associations and Companies for Latin America) and general manager of Cable Onda, said that one of the company’s priorities is investing in broadband services. “Today we offer broadband speeds of 20MB in some cities. We are looking to extend said speed nationwide and start testing 50-100MB speeds,” he said. For seven years Cable Onda has been providing triple play packages and has over 100,000 subscribers for each service: broadband, telephony and video. The executive also said that the operator is the “only Latin American company” with its own data center. “We have quite an important division to serve the small- and medium-sized company market, where we offer triple play. And we also have a corporate service division that offers broadband services via fiber optic networks, as well as telephone and video services to the main companies and institutions in Panama’s government,” he said. For two years the company has been providing households with VOD services through DLA, including premiere titles from Hollywood studios. The company has also ventured into the HD business and now has 26 HD channels. “We’re almost 100% digital. We are just about to complete that transition,” González-Revilla said. From his role as president of TEPAL, the executive said that piracy in Panama is “quite under control” thanks to the country’s regulatory frame. Yet it does not work in the same way in other Central American countries. “There is still a lot of work to do in Guatemala, Honduras and Nicaragua, while in Costa Rica and El Salvador it’s not that bad. These landscapes depend mostly on local regulations. We support them in everything they ask and, in order to become a TEPAL member today, companies need to be and come from countries that are almost piracyfree,” he concluded.

VENEZUELA | INTER Eduardo Stigol, CEO of Inter, said that the Venezuelan company offers “an extended basic package of 20 channels, 24 premium channels, 6 HD channels and 16 PPV channels,” which makes it one of the most technologically advanced companies in

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the continent. “We also offer VOD. Our triple play offering is very broad and includes 78 channels plus 1MB internet and telephony services or a further package with over 150 channels, 10MB internet and unlimited phone calls,” the executive said. Inter has 620,000 TV subscribers, 220,000 internet costumers, 80,000 telephony users and a penetration rate of 33%. But in order to continue building on these numbers and its reputation as a cutting-edge company, the CEO is currently focused on digitalization. “We are working on digitalization, building our own fiber optic network nationwide to guarantee faster internet speed and broaden our HD offering,” Stigol said. As for piracy -one of the most controversial topics in the region- the executive is very straightforward about the situation in Venezuela. “Not much can be done in Venezuela,” he said. “There’s no real institutional support to revert the situation. There are over 200 companies operating without a license.” Amidst this devastating context, the executive said that Inter makes a huge effort to keep its networks free of freeloaders.

ECUADOR | TV CABLE Jorge Schwartz, president of TV Cable, said that the company’s HD services -which were first launched this year- currently report 8% penetration rate, 45% for double play services (TV and internet) and 20% for triple play. “We also provide PPV, featuring 14 movie channels and local soccer games, 24 HD channels and triple play,” the executive said. Its digital services are currently available only in the two largest cities in the country: Quito and Guayaquil. The Ecuadorian pay TV company has started “a process that will rebuild and digitalize our network” in the rest of the cities where it operates in order to provide all these services in the rest of the country as well. As for piracy in this South American country, Schwartz said that as in any other country in the region it is very strong and that the company tries to offset any illegal practices across the Ecuadorian territory.

Carlos Moltini, CEO of Cablevisión, shared his insights on the company’s operation. It currently has 3.5 million TV subscribers distributed across three countries: Argentina -its main market-, Uruguay and Paraguay. “Our growth rate for the last years is close to 7%,” he said. And Fibertel, which is the company’s broadband service, serves over 1.3 million subscribers. “In the past few years the growth rate reported by our broadband service has been close to 20%,” Moltini said. Owned by Grupo Clarín, the company -which is getting ready to offer an OTT product and a VOD service in early 2012- has three digital products. “The digital service is the first level, featuring a wide interactive onscreen guide, better audio and picture quality, over 50 music channels, on-screen radios and over 15 digital channels more in addition to the basic channels,” Moltini said. “The second digital level is the HD service. In this level the customer can access about 20 basic HD channels, plus the HBO premium and Moviecity channels, apart from all the channels on the digital package. And level three is the HD Max service. Accessed via a DVR set-top box, this HD product allows users to record, pause, rewind and fast-forward content and is also able to store up to 150 hours of programming. It is definitely a new way of watching TV.”

(m ag on e v Ju th ie lio ly w 20 11 av s ) er ag e)

Jorge Schwartz, President of TV Cable

Carlos Moltini, CEO of Cablevisión

As for broadband, the company “is market share leader in our network with a massive 6MB product. We have heavily invested in network development and now it is ready in DOCSIS 3.0. Now we are in a position to launch our massive household 30MB service, which is going to be a breaking point for the country and the region,” the executive said. In triple play, Cablevisión has an offering that’s restricted to its subscriber base. “This is basically due to the constraints that the regulatory authority imposes preventing us from offering massive distribution. Cablevisión today is ready from a technology and commercial point of view to deliver widespread triple play services,” the CEO of the company said. The region’s pay TV business is, according to the executive, the real alternative that’s competing with relevant telephone companies. “We are the only alternative option to generating a new attractive option of products and services for consumers. If we did not exist as an industry, what would be of the region’s level of broadband, video and telephony? Our governments should ask themselves that question every day. Many countries do not see that and still consider us mere content distributors while we have actually earned a place of our own in the telecommunications market,” he said.

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The executive shared his vision on the pay TV industry, which is increasingly tending toward convergence. “The business evolves on a daily basis and this is not just a matter of TV. It needs to be seen as a constant investment to be able to provide all products and services in the telecommunications field -including telephony and broadband services- to fulfill subscribers’ needs and turn them into faithful customers,” Schwartz said. “Of course every market is different and the timing needs to be right. But if we don’t do it, somebody else will,” he concluded.

ARGENTINA | CABLEVISIÓN

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Mauricio Ramos, Executive President of VTR Chile

Antonio João, Director of Via Embratel

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Ricardo Perez, Marketing Director at TVA

CHILE | VTR Mauricio Ramos, executive president of VTR Chile, said that the company currently has a TV subscriber base of 900,000 users, 700,000 of them with digital TV services. The Chilean operator “has a little less than 50% market share within a pay TV industry that reports a 50% penetration rate across households nationwide,” the executive said. He also highlighted that in 2010-2011 the company managed to conquer over 100,000 new subscribers. VTR has also seen its HD subscribers grow, signing 150,000 new users. “We can see that all our interactive and digital TV services are gaining more value in the market. That is precisely what makes us leaders, we are the only ones that offer VOD and we are pioneers in HD and 3D at the same time,” Ramos said. VTR Chile is a company that stands out for offering cutting-edge technology. In 2005 the company launched its digital TV service and, just a year later, the its VOD and PPV services. The company took a further risk in 2007. “We were the first ones in Latin America to incorporate an HD channel to our content offering,” the executive said. Today, VTR Chile has 17 HD channels and will soon add three more (Warner, AXN and Via X), Ramos said. In 2010 the company set another milestone when it started running the first technical tests for 3D TV, looking to launch a new product in February 2011. “We are developing all possible exhibition windows through our Day&Date service. This means that VOD is available in simultaneous with DVD releases in home video. We will also take this to online TV through our GO VTR platform. It is all about living the TV Everywhere experience,” Ramos said. As for piracy, the executive said that “when you examine the reasons behind piracy, it is on the one hand driven by a cultural factor but it is also motivated by the lack of content available,” Ramos said. “We think that as long as content is made available more quickly, audiences will be willing to pay for it legally. This has been the case of Day&Date and series premieres in our channels. Customers demand these products and they are willing to pay for them. If broadcast outlets are eradicated, then piracy will be significantly brought down,” he said. According to the executive, both Chileans and Latin Americans are in general “waiting to have more content available; it is just a matter of time.”

BRAZIL | VIA EMBRATEL Antonio João, director of Via Embratel, said that “the pay TV market is following Brazil’s economic boom and we expect it will continue to grow during 2011-2012.” DTH company Via Embratel -owned by Grupo EMBRATEL, a Brazilian telecommunications

company- is based in Rio de Janeiro and was acquired by Carlos Slim’s Telmex in 2004. According to numbers from 2010, it provides pay TV services to 893,265 subscribers and its long-term strategy is focused on “growing its subscriber base by providing better services and improving its relationship with customers,” the executive said. As for the company’s strategy to reach C and D demos, the executive said that some channels changed their programming in order to fulfill these viewers’ demands. “Over the last year much of our programming has become very popular due to new channels that specifically target this audience, as well as some channels that appeal to everybody such as channel Viva and channel Bem Simples,” João said. The executive also mentioned that HD channels are growing too. “The market is expanding into other areas,” he said. The company does not provide VOD services, a technology “that is still very new for the country and the sector does not have enough historic records to test the service’s efficiency,” João said. As for content availability on alternative platforms, the executive said that “the main thing about TV Everywhere is not technology, because that is already solved. The main issue is channel rights to provide access from platforms other than pay TV and control mechanisms to ensure that this doubly-broadcast content is accessed only by those who have paid for the service.”

BRAZIL | TVA Ricardo Perez, marketing director at TVA, said the company is offering VOD via its service Fibra TV, thanks to an agreement with Telefónica. In fact, since 2008 the company owns a “virtual store” with over 2,000 HD titles. “TVA is offering video via optic fiber in the city of Sao Paulo. This service allows us to serve a customer segment looking for content at shops or over the internet, viewers who are seeking to watch their favorite shows whenever suits them best without depending on a linear grid,” Perez said. As for the new target audiences, the executive said that the company hasn’t deemed adapting its channel packages as necessary. “TVA’s basic package Fit is very diverse, featuring several programming genres and massive audience channels such as SporTV, GNT, Globo News, TNT, Disney Channel or Discovery Kids, among others,” the executive said. “We believe that the C class is also seeking unique content and that is why we have not changed programming packages, but we do offer diverse content to suit all preferences and social classes.” The company is already working on strategic plans to offer its content on mobile devices.

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Jorge Garro, General Sub-Manager of Cabletica

Esteban Iriarte, CEO of Amnet/Tigo

“We are already offering VOD, which gives users the option to watch their favorite shows whenever they want. The next step is to start thinking about tablets and other devices to offer customers the content they want,” Perez said. The company is thus keeping track of this trend. “As consumers start migrating to this platform, we will define our strategy,” he said. The executive is confident about the fact that “demand for traditional linear content will continue to exist,” and also thinks that “there is plenty of space to penetrate households with pay TV services in Brazil,” especially through Fibra TV. In August TVA will launch about 100 HD titles for its VOD service. Fibra TV’s “virtual store” model is based on “offering more attractive prices than its main cable TV competitor. Fibra TV also has interactive resources that allow customers to update their Twitter accounts, check their horoscopes and read the news,” among other services. The company’s strategy to build on this business model is based on permanent service upgrades, “expanding the network across the city of Sao Paulo to reach more households with cutting-edge technology,” Perez said. The executive also shared his vision on the current pay TV landscape in Brazil. “We are going through an extremely positive phase that is very promising for the pay TV market. We are waiting for the new cable regulations that will bring opportunities to new players and will contribute to expand the market,” he said. [Note: the new regulations -included in the PL 116- were approved in September.]

COSTA RICA | CABLETICA

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Jorge Garro, general sub-manager of Cabletica, said that the company “reported an annual growth rate close to 10% in 2010-2011, which has been pretty much sustained over the recent years.” After the telco market opened in Costa Rica -upon approval of the General Telecommunications Act in 2008- the executive explained that “there is a lot of competition” in the sector. “At least Claro, Albavisión and other DTH competitors will break into the in Costa Rican market soon. I don’t think the situation will be ok if programmers refrain from offering better prices,” he said. After the Costa Rican monopoly was torn down, the company has been providing direct internet services (Internet Cabletica) for several months now. The Costa Rican company has also ventured into developing VoIP, which will be available by the end of 2011. As a result, pre-paid mobile telephone services will be incorporated to its packages by the end of this year. As for piracy in Costa Rica, Garro said that numbers may be in the 30% range. In order

to fight this situation, “there are constant scans coordinated among the different departments. There is always a group of people working full time conducting daily anti-piracy jobs,” the executive said. By doing this over the last five years, the company has been able to recover at least 5% of all pirates. “Of those who sign a contract, 4% stay as faithful legal subscribers,” Garro said.

CENTRAL AMERICA / AMNET Esteban Iriarte, CEO of Amnet/ Tigo, explained that in 2008 mobile phone company Millicom International Cellular, which operates under the Tigo brand, bought one of Central America’s leading cable TV and phone companies: Amnet. This move gave Tigo control over Amnet’s operations in five countries in the region: corporate data services in Nicaragua and Guatemala and cable and corporate services in Honduras, El Salvador and Costa Rica. “We are going from being Amnet to becoming Tigo in Honduras and El Salvador. In all of these places, we are market leaders,” he said. According to the executive, it is not possible to describe the pay TV business in Central America as a whole. “When you talk about the pay TV business in Central America, you need to understand that segmentation is the key to succeed. Consumers are different, competitors are different and landscapes are different. If you wanted to implement the same strategy for Honduras and Costa Rica, you would be making a mistake,” he said. “Our subscriber base across the region amounts to about 700,000 RGU. In the cable TV business, we are market share leaders in those three countries. In the three countries we have different competitors. In El Salvador we have Claro. Honduras is an extremely fractionated market, with 27 very small local operators. And Costa Rica is a much more homogenous market, where our main competitor is Cabletica,” Iriarte said. Since Tigo bought Amnet the new brand has focused on high-value products, concentrating its efforts on its HD offering. “Our offering is twice as big as the offering of our main competitor in the region. Our smallest offering includes 17 HD channels, while our competitors in all these counties have seven to nine HD channels,” he said. In the internet field, the company has launched 10MB services across these three countries, doubling competitors’ speed. “If I am not wrong, our best competitor is Claro, which offers only 5MB,” he said. When asked about the possibility of having a VOD service, the executive said that it is still not the right time for that kind of technology in the region. “We believe there is always a time to do things and we are waiting for the right time to come,” he concluded. ttv

Executives ttv

hine Group’s operations in the audiovisual sector could be defined as a production wrap, a solid framework of production teams leveled among the most important markets in the world. Indeed, the company headed by the heir of the News Corp. empire Elisabeth Murdoch, holds impressive numbers in terms of successful brands, production facilities and strategic partners. “We’re a global studio with 26 creative labels in 12 countries. The Shine Network is highly engaged with all production teams. We prioritize the development and marketing of big brands and back them as a group,” Mark Fennessy, president of Shine Network, describes. Fennessy oversees the international production of all of these brands, strategically projecting their expansion from market to market. A quite dynamic task, considering Shine Networks offers production support and collaboration “on 30 to 40 shows at any one time,” he explains. “’MasterChef’ is now in production in 32 countries; ‘The Biggest Loser’ is in 10 with more to be announced and ‘One Born Every Minute’ has extended to 5 and growing. We’re rolling out ‘Junior MasterChef’, ‘Got To Dance’, ‘The Magicians’ and ‘Family Supercook’,” the executive adds. A CHANGE IN LANDSCAPE. Fennessy mentions local autonomy and local creativity as key elements for the company’s strategy, though the other part is the ‘centralized support’ provided

Walking Around Europe Shine Group’s recent announcements include the commissioning of seven formats in a new round of deals across Central and Eastern Europe, inked by distribution branch Shine International. The agreements include local productions of ‘Tough Love’, ‘Date My Mom’ and ‘Identity in Ukraine’. ‘Style By Jury’ has also been picked up by Russia, while ‘Single Moms’ has been re-comissioned in the Czech Republic as well as ‘Identity’ in Russia. Meanwhile, Polsat ordered a second season of ‘Must Be the Music’ for Poland. This show ranked as the channel’s number one show of the year, garnering 4.1 million viewers with a market share of 25% (more than double the channel’s average). ‘MasterChef’ was also very successful in Croatia’s Nova Channel, reporting an average audience share of 33% and 47% for its final episode among adults 18-54 years old.

by Shine Group from the UK. “Shows with international potential are identified early and fast tracked through the group. We all understand that from a single local success a global hit can grow,” he says. As for his vision of the entertainment format’s current position among the worldwide preferences, the executive affirms unscripted content “is here to stay.” The explanation is simple: the genre has been able to move at market pace, without even trying to repeat successful formulas. As a result, new variations have come out to refresh distribution catalogues. “Just like rap music, it continues to evolve into sub-brands - Factual, Lifestyle, Docu-Soap, Observational Documentary, Soft Scripted, etc. As the

“We’re no longer simply producing television for viewers - we’re creating content for users.”

Mark Fennessy,

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President, Shine Network

The man in charge of overseeing hit franchises like ‘MasterChef’ and ‘The Biggest Loser’ told ttv that Shine Network works on 30 to 40 annual projects, as well as highlighted the importance of social media and analyzed emerging sub-brands of entertainment formats. BY Sebastián Torterola Twitter: @storterola storterola@todotv.tv

landscape changes it has a positive future,” Fennessy notes. However, fragmentation of worldwide audiences into several screens demands a re-adaptation of content from its conception. “We’re no longer simply producing television for viewers - we’re creating content for users,” Fennessy says, providing a graphic statement of this new market reality. In today’s industry it’s vital to embrace the changing nature of viewing patterns, an aspect that impacts on other business areas. “Consumption on multiple screens presents a range of exciting commercial opportunities for both producers and broadcasters,” he assures. Social media is another influential element in the content cycle, generating awareness and, in Fennessy’s words, leveraging the ‘talk-ability’ around formats. “Social networking is highly useful in the creative process - particularly for unscripted formats. Embracing the full 360 degree conversation is a significant priority within our broader content strategy,” Fennessy points out. A MIXED BAG. The Shine Group has based its expansion strategy on the acquisition of production companies worldwide, such as US Reveille, which is currently headed by former Fox executive Emiliano Calemzuk. Fennessy describes this strategy as “a balanced combination of acquisition and start up”. “Ultimately our companies and our people are our currency. As a creative enterprise we’ll always explore the right opportunities in line with a clearly defined strategy for growth,” he says. As a company working from Europe, Shine Network is not oblivious to the global crisis’ secondary effects that the old continent is experiencing. The executive doesn’t deny that there are shadows of doubt surrounding the region’s near future and its economy. “In some European markets we’re seeing significant growth and yet real uncertainty in others - so it’s a mixed bag at present. Signs for increased productivity are positive. Fortunately we have strong titles which are being afforded priority irrespective of conditions,” he concludes. ttv

Executives ttv

Crisis

Averted

The man in charge of representing hundreds of French companies all over the world talked to ttv about TVFI’s Rendez-Vous last September, Latin America’s “buoyant moment” and the association’s tradeshow schedule, including its long-awaited return to NATPE for the first time since 2006.

By Sebastián Torterola Twitter: @storterola_ttv storterola@todotv.tv

Photo: Agence Photomobile

“Everyone is trying to work on a steadier business flow and larger amounts of hours sold per deal so that your cost of doing distribution goes a little further.”

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“This year’s RendezVous was great. Over 240 buyers attended, an all-time high for us.”

ack at DISCOP East (held in Budapest on June 10-23) Mathieu Béjot, executive director of TV France International (TVFI), said: “We know business models are changing. There’s been an increase in fragmentation and a lot of smaller clients. These are many difficulties to deal with when you are exporting.” The solution to these difficulties seems to be being more active than ever. “After MIPCOM, we will be

attending the second Remakes Market in LA on November 14-16 and the Asia TV Forum in Singapore on December 7-9. For the first time, we will organize a European Pavilion with Finland and Spain. We will of course be involved in the World Congress of Science and Factual Producers which is held in Paris this year from November 29 to December 2,” Béjot told ttv. Around 50 companies will be present at MIPCOM’s French Pavilion and others TVFI members will be exhibiting on their own.

Mathieu Béjot,

As for fragmentation as an arguable trend, Béjot took the opportunity to expose his opinion. “As a distributor, the value of each individual deal tends to decrease as you sell more and more to clients with a more limited reach, and therefore lower license fee. At the same time, the number of contracts signed is soaring and so is the back office work to follow up with the deals and deliver material. Digital delivery should help eventually, although the current lack of standard seems to make it especially worse at the moment. Everyone is trying to work on a steadier business flow and larger amounts of hours sold per deal so that your cost of doing distribution goes a little further,” he said. NATPE RELOADED. However, NATPE seems to be the best symbolic proof of recovery after a three-year harsh economic crisis. Indeed, in January TVFI will return -this time to Miami- with a strong representation after five years of absence. “Our biggest news is exhibiting at NATPE again, the first time since 2006. We had excellent feedback from last year’s edition in Miami and we’re looking forward to attending again and meeting with Latin American buyers in particular,” the executive said. Béjot also said that French companies represented by TVFI have “a long tradition of attending NATPE,” as it is a productive market for each one of them. “We stopped going in 2006 as we felt we no longer met with enough clients that were relevant for French distributors,” he explained. Maybe the move to a new, nearer and better location helped? “The move from Las Vegas to Miami has broadened the reach of the market among Latin American buyers and that enough would justify attending again. We also feel the market is bouncing back, attracting new players such as Netflix, and should offer interesting opportunities for us,” he said.

The association also put together a panel discussion on French investigative documentaries. “From ‘The World According to Monsanto’ to ‘Qaddafi, our Best Enemy’, there have been a number of highly-praised

“Our biggest news is exhibiting at NATPE again for the first time since 2006.”

and successful documentaries coming out of France with great reception among foreign acquisition executives,” he added. TVFI also hosted Le Rendez-Vous in February 2011, an edition that won’t be repeated in 2012. “As the year is crowded with an increasing number of markets, it made sense for us to exhibit again at NATPE as Miami seems to be attracting a strong attendance from Latin America,” he explained.

Photo: Agence Photomobile

In spite of this, the Mexican edition’s balance was satisfactory. “It’s just a matter of calendar but the doors for further editions are open. We were very happy with the outcome of our Rendez-Vous in Mexico last February. Mexico is a key territory for us and being there for a few days is a fantastic opportunity to meet buyers and producers in their own environment. At the same time, we also invite a number of contacts from other countries in Latin America,” Béjot said. THE PROMISED LAND. Without doubt, the Latin American market attracts the most ambitious players of the worldwide market. Its healthy economy and dynamic TV industry makes it a mandatory expansion option for any company, particularly biggest markets like Brasil and Mexico, but not limited to them. “It also applies to other territories as well. Our figures for 2010 confirm that Latin America is very buoyant at the moment. We’ve seen many changes in all sectors, from public broadcasters through new media, with evolving needs and opportunities. Animation, documentaries and feature films remain our stronger genres in the region,” Béjot pointed out. The executive also said that, apart from disembarking in the region with “high-quality and relevant content,” having access to local versions “remains a key issue as the level of license fees still makes the cost of creating a Spanish version prohibitive.” ttv

Discop Budapest: Fail According to Béjot, despite the mixed evolution of some territories in Central and Eastern Europe over the last couple of years, the region is growing stronger, with Russia leading the pack. However, he left concerned enough to point out some misfortunes during the latest edition of DISCOP East. “We had a major concern this year with the screenings organized by some US companies during DISCOP. To put it bluntly, this is enough to put an end to the market as we know it. Why pay for a suite if all the buyers are taken away to another location?” he questioned.

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RENDEZ-VOUS. Apart from the aforementioned schedule, the company is also active with its own event: Le RendezVous, which took place on September 5-9 in Biarritz. “We had a record number of buyers (+12% compared with 2010) and more French exhibitors attending the event. After being more risk-averse during the recession, production is definitely stronger and more daring. Le Rendez-Vous has gone online immediately after the event, for attendees only at first. Participants can continue screening over 1,300 programs presented in Biarritz. Furthermore, the international sales figures for 2010 we released during the event showed a significant 5% increase,” Béjot said.

Executive Director, TV France International

Executives ttv

500 Hours

in Cannes

During MIPCOM 2011 the international distribution division of Caracol Televisión will be presenting 500 hours of premiere programming. This content stands out for its renewed audiovisual language that includes touches of comedy and an innovative outlook on reality.

By Sebastián Amoroso Twitter: @sebamoroso samoroso@todotv.tv

“At least six co-productions will be produced in the coming three years [with Sony Pictures Television].”

aracol TV Internacional will be presenting the largest number of hours it ever took to a tradeshow at this edition of MIPCOM. The Colombian distribution company will be showcasing 500 hours of premieres including comedy telenovelas ‘‘The Secretary’ and ‘‘Yellow Team’, crime series ‘Infiltrated’, reality show ‘Broken Promises’, drama telenovela ‘Primera Dama’ and suspense series ‘La Mujer del Presidente’.

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A year-round effort to boost its international business has led the division into forming two solid areas within its organizational structure: international sales and co-productions. International sales -led by Lisette Osorio- “is focused on distributing taped content and formats produced by Caracol or any of its partner production companies,” Angélica Guerra, VP of Caracol TV Internacional, told ttv. The division under Guerra’s lead reported 48% growth in revenues during the first half of the year compared to the same period in 2010. Generally speaking, 85% of all exports are taped content and the remaining 15% are formats.

Angélica Guerra,

VP of Caracol TV Internacional

The co-productions area -led by Carolina Leconte- specializes in finding partners and clients to make Caracol one of the region’s most important content production hubs. “As part of this strategy, a co-production alliance has been formed with Sony Pictures Television for the next three years,” the executive said. Telenovela ‘Love and Fear’ (90 x 60’) has been the first co-production that came out of that deal. “At least six co-productions will be produced in the coming three years,” Guerra said. The executive also said that the company is currently in talks with Latin American broadcast TV channels “to build synergies

and produce with substantial resources, while reducing costs for each co-producer’s grid,” the executive said. EMERGING MARKETS. The Colombian broadcast TV channel’s international distribution division reaches over 80 countries across five continents. Latin America is naturally one of its main markets, followed by the rest of the world. Caracol TV Internacional has centered its content distribution strategies in emerging territories. A good example is Africa. “Africa is certainly one of the markets that is concentrating a larger part of the division’s attention because it has high demands for fiction content and telenovelas work very well there,” Guerra said. “This continent, under the lead of Berta Orozco, obtained excellent results this year.” Eastern Europe is another market that falls into the emerging category according to Caracol Broken Promises Series

Executives ttv The Secretary Telenovela

“Africa is certainly one of the markets that is concentrating a larger part of the division’s attention because it has high demands for fiction content and telenovelas work very well there.” “I think that Eastern Europe is a strategic territory that will contribute toward the expansion of our international sales business.”

Netflix In Latin America The executive sees the US online video streaming company’s arrival to Latin America as a positive challenge for content distribution. “It is big news that companies like Netflix have turned their eyes onto our region in order to expand their innovative businesses,” Guerra said. “This company will make the landscape more interesting for all industry players and it is going to be a medium-term challenge for traditional subscription TV models,” she said.

TV International’s criteria. For that reason the company has incorporated Roberto Corrente to its team in order to better serve those territories. “I think that Eastern Europe is a strategic territory that will contribute toward the expansion of our international sales business,” the executive said. SYNERGY AS KEY. Caracol Televisión’s international division and its production department join forces to create audiovisual products with international projection. “From this perspective, content strategies for the channel and for the international market are outlined together,” Guerra said.

Production Services

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In Colombia, Caracol Televisión offers international partners production services to develop co-production or productions under a commission model. The company has already conducted business with partners like Telemundo-RTI, TV Azteca and Sony Pictures Television. The channel has 11 studios that range in size from 2,798ft² up to 8,611ft² with a capacity that’s close to 215,278 ft². Four studios and five mobile units are fully-equipped with HD technology.

Lisette Osorio, Senior Director of International Sales

Roberto Corrente, Head of Business in Eastern Europe and Asia

Caracol Televisión’s productions are always conceived with an international approach. “It is there from the moment it is created until the episodes are rolled out among channels around the world,” the executive said. The VP of Caracol TV Internacional highlighted some elements that distinguish Caracol Televisión’s TV content from the rest: narrative language, comedy and an innovative way of portraying reality as fiction. “There is a special way to tell stories and I think that is the reason why our products have traditionally stood out from the rest of the countries in the region,” she said. As for comedy and innovation, Guerra said: “We always have comedy in our content and we are bold and daring when it comes to telling stories. We are not afraid of innovating and telling stories about our own reality: that has added a special touch to our for-export products,” she concluded. ttv

Carolina Leconte, Senior Co-Production Director

TTVKids&Teens report Research

Toy Sotry 3 Director: Lee Unkrich

Programming

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for Latin American Kids T

How are kids’ programming slots fed in Latin America? The following report shares data published by the Chilean National TV Committee for five markets in South America (Argentina, Brazil, Chile, Colombia and Peru) to shed some light on how exactly programmers purchase, produce and program when it comes to kids.

he Colombian National TV Committee (CNTV) published a study* in March 2010 belonging to the Chilean National TV Committee. The report studies** kids’ programming in Latin American markets and has been published five times since 1997. The latest edition, published in March 2010, is very different to its antecessors. This edition analyzes South American kids’ programming in its five most important markets (Argentina, Brazil, Colombia, Peru and Chile) to reach general yet valuable conclusions that should shed some light into the intricate Latin American kids’ market.

Por Sebastián Amoroso

THEMES. In regard to themes and genres, the study indicated that 37.7% of kids’ programs deal with everyday life issues, 23% feature adventures and 13.6% include war-related entertainment. 13.6% are about having fun, 5.1% deal with nature and 2.1% do so with art, music or culture. When taking each country into account, Argentina’s programming for kids usually deals with everyday life issues (42.9%), war (28.6%) and adventures (23.8%). In Brazil, content

Twitter: @sebamoroso samoroso@todotv.tv

FORMATS. The study shows that in these countries audiovisual formats for kids are usually cartoons (63.4%), followed by animations (9.4%), series (12.8%), miscellaneous (6.0%), continuous (4.7%), report/news (2.1%) and, finally, telenovelas (1.7%). Cartoons were again the most popular format in Argentina (61.9%), followed by series (28.6%) and telenovelas (4.8%). In turn, in Brazil 61.7% of all kids’ programming available were cartoons, with formats (10.6%) and series (17%) lagging behind. This hegemony of cartoons is even more notorious in Chile, where cartoons occupy 75.4% of kids’ timeslots with series (15.9%) far behind. Colombia and Peru were the two markets where cartoons had less impact on general TV screens with 56.8% and 54.2% respectively. Animation ranked second in Colombia with 16.2% and series followed with 5.4%. The same order is followed in Peru, where animations hold 33.3% of the kids’ market share and series follow with 4.2%

TTVKids&Teens report

“Colombia is the only country airing mostly local content (29.7%), combined with content from the US (24.3%), Europe (13.5%) and Asia (10.8%).”

focuses on everyday life issues (40.4%), war (21.3%), having fun (10.6%) and adventures (19.1%). Everyday life issues were again the most popular in Chile (39.1%) followed by adventures (33.3%), war (13%) and having fun (5.8%). The same can be said of Peru, where everyday life issues can be found in 37.5% of all content, with having fun (29.2%) and adventures (16.7%) following behind. In Colombia, everyday life issues are still the most popular albeit to a lesser extent: 27% of all kids’ content features them. Adventures (17.6%), having fun (21.6%) and war (9.5%) are also within the top four most popular themes. PROGRAMMING AND TARGET. In regard to the different target audiences to which content was directed, the study shows that

Don Gato Production: Ánima Studios /Illusion Studios

K/TTV MAGAZINE

* http://www.cntv.org.co/cntv_bop/tv_infantil/estudio/index.html ** The report studied broadcasts in July 2009, except in the case of Peru where numbers correspond to November of that year. All in all, it analyzed 235 programs, 188 of them broadcast in just one country.

15.3% targets babies and preschoolers (0 to 5 years old), 43.4% targets boys and girls 6 to 9 years old and 41.3% targets boys and girls 10 to 12 years old. In Argentina, 4.8% of content was directed at babies and preschoolers, 19% to boys and girls 6 to 9 years old and 76.2% to boys and girls 10 to 12 years old. Brazilian screens showed more programs for babies and preschoolers (10.6%) with boys and girls from different ages targeted more evenly (55.3% of content was for 6-9 year-olds while 34% catered to a 10-12 year-old audience). The baby and preschooler demo in Colombia was even more represented with 16.2% of all content directed at it. Boys and girls 6 to 9 years old hold 35.1% of the total kids’ content share while 48.6% of all content targets 10-

12 year-olds. In Chile, 13% of its television’s kids’ timeslot was dedicated to babies and preschoolers and 49.3% to boys and girls 6 to 9 years old. Following the general trend, 37.7% catered to boys and girls 10 to 12 years old. Finally, in Peru the tables were turned. A whopping 37.5% of kids’ content is for babies and preschoolers, while 50% caters to 6-9 year-old boys and girls and only 12.5% to 1012 year-olds. CONTENT SOURCES. Where this content is from is also important. The study showed that 43% of all content is from the US, 11% from Spain, 9.6% from Colombia, 7% from Mexico, 7% from Asia, 5.7% from Chile, 5.3% from Brazil, 4.8% from Canada and 1.8% from coproductions between different nations.

More than half of all kids’ content in Argentina comes from the US (57.1%), with Mexico (14.3%) and Europe (9.5%) trailing behind. Brazil did show evidence of national kids’ programming. Despite 55.3% of its content being imported from the US, 23.4% of it is made locally. Asia (6.4%) and Europe (4.3%) complete the content pie. Colombia is the only country airing mostly local content (29.7%), combined with content from the US (24.3%), Europe (13.5%) and Asia (10.8%). Chilean screens are mostly fed by US content (53.6%), followed by Chilean productions (18.8%), European programming (8.7%), Canadian shows (7.2%) and Asian content (4.3%). In Peru the market is more evenly-spread with 29.4% of all kids’ programming coming from the US, 29.4% from Europe, 23.5% from Mexico, 23.5% from Latin American countries and 5.9% from Asia. ttv

TTVKids&Teens interview

It’s Playtime Two iconic executives of the Italian animation distribution, production and licensing company Mondo TV explained the key role of its Consumer Products division within a successful business model and announced new titles for 2012, including 3D CGI content and more co-productions.

Matteo Corradi,

Guido Bertè,

“Partnerships work very well thanks to the great flexibility and reactivity that our structure offers, aspects that, in this particular market moment, are fundamental.” (Guido Bertè)

n the past, when an animation series were created, the entertainment product itself used to concentrate all of the attention. Broadcasters had their animation slots and all of them bought content. Yet the market has changed. Products for kids have become less profitable: advertising has fallen for this segment and an entire timeslot for kids isn’t profitable anymore.

VP of Sales and Board Director, MONDO TV

Director, MONDO TV Consumer Products

By Sebastian Torterola

Nevertheless -and paradoxically- content for tween audiences is flourishing. How come? Facing this new landscape, diversification became the only option: successful players were those who managed to combine great brands with content quality and an effective consumer product strategy. And that’s what Mondo TV brought to the table. In this interview, Mondo TV’s VP of sales and director of consumer products analyze the key elements of a successful European business model which hasn’t stopped expanding. Give it up for Matteo Corradi and Guido Bertè. Mondo TV has plenty of licensing, production and programming sales business around the world. What is the company’s current focus? Matteo Corradi - We are focusing on new important productions based on famous toys brands. The company revenues in the first half of 2011 grew 125% compared to the same period of last year to €11 million. Likewise, our EBITDA stands at €5,5 million, which represents around 50% of the company’s turnover.

K/TTV MAGAZINE

Twitter: @storterola_ttv storterola@todotv.tv

Puppy in my Pocket, 52 x 13’

Guido Bertè - Through Mondo TV Consumer Products we continue to offer a 360° Licensed

TTVKids&Teens interview

Giochi Preziosi is certainly a very important key partner when it comes to licensing and production. Partnerships work very well thanks to the great flexibility and reactivity that our structure offers, aspects that, in this particular market moment, are fundamental. Matteo Corradi - Regarding TV activities, we have solid ongoing business with many partners: Mediaset, RAI, CN Asia and CN EMEA, Al Jazeera’s children’s channel, GULLI and Teletoon (France), Canal Panda (Portugal), GMA (Philippines), TV3 and NTV (Malaysia), TRT (Turkey), Disney Media Networks Latin America, just to name a few. And our alliance with Giochi Preziosi is essential for the company. They are a fantastic partner and we have really built a win-win relationship that will bring marvelous programs into every market, coupled with complete packages for TV.

Beast Keeper 2D Animation

K/TTV MAGAZINE

“At present, we produce around 200 episodes a year, which makes our company one of the most active ones in the world for its field.” (Matteo Corradi) “We are a multiterritorial entity that can eventually make clients enter new markets in countries they never even considered before.” (Guido Bertè)

Property Management: starting from TV Production, searching non-stop for new trends and trying to discover the best new licenses in the market and placing them in the most appropriate market categories. We support our projects with targeted communication and advertising campaigns on the specialized press, in addition to coordinating all key licensees in order to maximize brand exposure and promotional synergy, building strategic partnerships with category leading companies. In addition, the company is also an agent for third party brands, being among the leaders of the licensing and publishing market. What recent licensing and distribution deals would you highlight? Matteo Corradi - We have recently inked a distribution deal with Cartoon Network Europe, Middle East and Africa (CN EMEA) for ‘Puppy in my Pocket’, a property that’s been on air in over 80 countries in the region since July 4. Apart from that, we also closed deals on ‘Virus Attack’. Its toy line will be first launching in Italy and then in the rest of Europe during next year. We are also closing the launch of Mondo TV’s 2-hour block on Saturdays and Sundays all around the US as from September 24. What are MONDO TV’s most important partners and clients in terms of brand building and consumer products? Guido Bertè - Mondo TV can vaunt a wide group of partners spread through all market categories.

Currently, a Consumer Products area is essential to any audiovisual program focused on the kids & teens segment. What licensing advantages does MONDO TV offer? Guido Bertè - Mondo TV Consumer Products has a strategic 360 approach, so we are able to embrace the whole promotion, licensing and publishing process from top to bottom, not to mention that we can also promote home video. Secondly, we are a multi-territorial entity that can eventually make clients enter new markets in countries that they never even considered before. And finally, thanks to an integral property management, Mondo TV has partnerships with the most important companies in the TV and distribution field in each territory, which are not limited to the licensing sector. What projects do you currently have in production or co-production? Matteo Corradi - The list of projects currently being produced includes the two new coproductions with Giochi Preziosi ‘Dinofroz’ and 3D CGI-animated ‘Gormiti’, which is expected for fall 2012. Other titles worth mentioning are ‘Playtime Buddies’ and ‘Beast Keeper’; ‘Bondi Band’, a co-production between Mondo TV, Ledafilms and Exim Licensing Group which we will launch in Europe and which is highly recognized in Latin America, where it has a widespread presence. Then, we are also producing the second season of ‘Angel’s Friends’, as well as ‘Ants’, ‘Cuore’, ‘Partidei’ and ‘Monsters and Pirates’. At present, we produce around 200 episodes a year, which makes our company one of the most active ones in the world for its field. Guido Bertè - From the consumer products side, we have many international licensing programs including ‘Trash Pack’, ‘Virus Attack’, and ‘Inazuma Eleven’. This, plus the two new co-productions with Giochi Preziosi will ensure a huge licensing program for the near future. ttv

Backseat Buddies

Finding Stuff Out

Breakthrough Entertainment 122 Sherbourne Street, Toronto, ON, M5A 2R4 Tel.: 416-366-6588 x 112 Fax: 416-363-9726 distribution@breakthroughentertainment.com Website: www.breakthroughentertainment.com Stand: 00.01

Executives Attending

Ira Levy, Executive Producer/Partner Peter Williamson, Executive Producer/Partner Joan Lambur, Executive Producer Marina Cordoni, Executive Producer Kate Blank, Sales Executive Laura Lemyk, Sales Executive

Johnny Test

Lilo & Stitch

CCI Entertainment

Cookie Jar

18 Dupont St. Toronto, Ontario, CANADA M5R 1V2 Tel.: 416.583.2916 Fax: 416.964.1980 E-mail: dcoordinator@ccientertainment.com Web: http://www.ccientertainment.com/ Booth: 2.10

266 King St. West, 2nd Floor, ON M5V 1H8, Toronto, Canada Tel.: 416 977 3238 E-mail: jm@cjar.com Website: www.thecookiejarcompany.com Stand: 17.01

Executives Attending

Charles Falzon, Co-chairman Jill Keenleyside, Executive VP, Distribution Rekha Shah, VP of Distribution & Co-production Federico Vargas, Director of Sales: Latin America, Iberia, CEEMEA Marie Crosta, Manager of Operations: Distribution and Development

TOP EXecutivE

Toper Taylor, President and COO, Cookie Jar Entertainment Jean-Michel Ciszewski, Senior VP International, TV and Home Entertainment Wiebke Hoefer, Director of European Sales John Morris, SVP Sales & Coproductions Julie Ninomiya, Vice President Rodrigo Piza, Sales VP, Cookie Jar Entertainment Sophie Prigent, International TV & New Media sales Matt Haliniak, Director, A/V Servicing

Arnie Zipursky, President & Co-chairman

Nat Abraham, VP of Distribution

(Kids / Animation - 10 x 30’) Through engaging storytelling, these daring and delightful characters take kids on exciting adventures filled with hilarious surprises, detours, and plenty of potholes along the road. Kids will adore riding along with the Cars, where they will discover the true meaning of friendship and family.

Customer Disservice (Factual - 1 X 60’)

Customer Disservice takes viewers right to the heart of the new global battlefield, where the customer and the corporation are at war.

In The Weeds

(Lifestyle - 8 X 30’) A hot young chef with big dreams risks everything he has to finance his goal of creating the next Hot Restaurant, in a world class city.

Picnicface

(Comedy - 13 X 30’) Sketch comedy sensations ‘Picnicface’ are taking their fast-paced, surreal comedy style to television. This hysterical series features a blend of ‘Picnicface’s absurd, risqué humor, influenced by the legendary sketch comedy troupes Kids In the Hall and Monty Python.

One Ocean

(Factual - 4 X 60’)

(Series, 16 x 30’)

Artzooka! (Series, 30’)

A half hour series blending live action and animation to show kids that art is everywhere and that there is an artist in each one of them! Targeting kids 6 - 9, ‘Artzooka!’ provides audiences with traditional techniques in unconventional ways and teaches children to draw outside the lines and create their own masterpieces. The works created represent a broad spectrum of art including digital movies, silk-screened t-shirts and lamps made from oranges?! Original productions customized to suit your market are also available. What will you ‘Artzooka!’ today?

GeoFreakZ

(Animated Series, 22 x 1’) The GeoFreakZ are a comedic team of teenagers who are working their way through training at the GeoFreakZ Academy where they embark on geocaching adventures in order to save the planet.

Joe and Jack

(Preschool Series, 39x7’) An adorable series about a 4 year old boy named Joe, and his best friend; who happens to be a cat, Jack. These two have the biggest imaginations and their days are filled with all sorts of adventures. Follow these friends as together they get into and out of trouble.

Executives Attending

Henri Ringel, VP, Distribution Jack Morera, Director, Distribution Leonardo Aranguibel, Director, Production Fabiola Bovino, Senior Manager, Marketing

TOP EXecutivE Fernando Barbosa, SVP Distribution and Production

Johnny Test Imagine having a lollipop that gives you the strength of a hundred men, or a rocketpowered backpack that can send you to the Moon, or genetically altering your dog to make him talk. Johnny Test can do all of that…and more. ‘Johnny Test’ chronicles the adventures of a fearless 11-year-old boy, his genetically engineered super dog Dukey and his 13-year-old super genius scientist twin sisters, Susan and Mary, who use Johnny as their guinea pig for their out-of-this-world scientific experiments.

Caillou

(5 Seasons) ‘Caillou’ is the new series which brings to life the adventures of the pint-sized hero of the popular children’s books. Geared to pre-schoolers, the 65 five-minute episodes follow Caillou from 18 months to four years old and each episode deals with a normal issue of growing up such as nightmares, new friends, visits to the doctor and the first day at day-care. Our hero deals with these junior problems in a way that is pure Caillou: one part baby logic, one part imagination and a whole lot of humor. As he comes to terms with these experiences, he’ll demystify them for young viewers. The result is not only entertaining, but educational for children and adults alike.

Lilo & Stitch On the lush and tropical Hawaiian Islands, a lonely little girl named Lilo adopts what she thinks is an innocent puppy. She names her new “pet” Stitch, completely unaware that he is a dangerous genetic experiment who has escaped from an alien planet. Stitch’s only interest in Lilo is using her as a human shield to evade the alien bounty hunters who are bent on recapturing him.

Jungle Book 2 Mowgli feels out of place in his new home, despite the efforts of his friend SHANTI and his new little brother. So when Baloo arrives for a visit, the man-cub takes the opportunity to return for some fun in the jungle. However, Shanti, believing her friend was taken, follows them. With Shere Khan still on the hunt for him, Mowgli must protect himself and the ones he cares about from the dangers ahead. The new adventures make him reconsider his decisions and decide which he wants more - a life of laid back hilarity with Baloo in the jungle or a simpler existence in the man village with Shanti.

TTV MAGAZINE/K

Exploring past, present and future of the World’s Oceans and our race against time to save them.

Finding Stuff Out Finding Stuff Out is a lively science-oriented series which, instead of imposing adult notions on kids about what they should know, gives them what they want: answers to the questions that matter to them the most!

Two Alhambra Plaza 9th floor, Coral Gables, FL33134, USA Tel.: (+1) 305-567-3785 Fax: (+1) 305-774-3913 Stand: Riviera Beach 3

TOP EXecutivE

Michael Hirsh, CEO, Cookie Jar Group

Backseat Buddies

Disney Media Networks Latin America

Tappy Toes

The Little King

Gormiti – The New Adventure

GAIAM

Kiddinx Media GmbH

Mondo TV

Nelvana Enterprises

350 Madison Ave. - Suite 1700, New York, NY 10017 Tel.: 212-951-2320 Fax: 212-951-2363 E-mail: Myriam.diaz@gaiam.com Website: www.gaiam.com Stand: I.F.T.A. 01.02 Stand Tel.: 334-92-99-8207

Lahnstr. 21, 12055 Berlin, Germany Tel.: 0049-30-306997-26 Fax: 0049-30-306997- 29 E-mail: tv@kiddinx.de Website: www.kiddinx.tv Stand: H.435 Booth 1 - Mezzanine level

Via Brenta, 11 – 00198 Rome, Italy Tel.: +39 06 86323293 Fax: +39 06 86209836 E-mail: mondotv@mondotv.it Web: www.mondotv.it Stand: 23.02 / 25.01

Corus Quay, 25 Dockside Drive, Toronto, Ontario, M5A 0B5, Canada Tel.: 416 479 7000 E-mail: jerry.diaz@corusent.com Stand: N6.04

Executives Attending

Holger Kuechler, Managing Director

Executives Attending

Jerry Diaz, Vice President, Worldwide Sales Irene Weibel, Vice President, Production and Development

Sam Toles, Vice President, Content Acquisitions Myriam Diaz, Director, International Sales

TOP EXecutivE

Andrea Bannert, Director of TV & Licensing

Bill Sondheim, President, Gaiam Inc.

Gian Claudio Galatoli, Production Director Matteo Corradi, Senior VP of International Sales Micheline Azoury, Head of International Sales & Brand Manager Roberto Farina, Sales Manager Alessandro Venturi, Sales Manager Theo Kouroglou, Sales Manager Maria B. Fois, General Manager Guido Berté - Licensing Manager

Tappy Toes

(Animation - 1 x 41’) A delightful animated family comedy about a young penguin who learns how to tap-dance his way into and out of trouble.

Puss in Boots (Animation - 41’)

One of the world’s most beloved characters returns in a BRAND NEW animated feature

Chop Kick Panda (Animation - 1 x 45’)

Lou is a large (okay, fat) lovable panda who is the sixth generation owner of the Tae Kwon Do dojo in the small village of Daluo. What Lu doesn’t know is that buried beneath the dojo is an ancient Amulet of Fury…

Animated Catalog (Animation - 46 x 45’)

GoodTimes Catalog has set records World Wide. Over 45 Classis children’s stories newly mastered with key marketing materials available.

Orlando Corradi, President & CEO

(Animation - 52 x 5’)

‘The Little King’ lives with his animal friends in an idyllic castle with a huge garden. Besides his large crown, there is nothing really royal about this cute little monarch. Full of curiosity, he loves to explore things thoroughly. And with the logic of a 5-year-old he comes up with very imaginative ideas.

Benjamin The Elephant (Animation - 52 x 26’)

In 52 exciting adventures, Benjamin appears in the most unusual roles. He happily helps out when there is a desperate need for a night watchman or the lighthouse keeper is on vacation. Benjamin and Otto don’t mind travelling to the Arctic Ocean when the little baby walrus Wanda is kidnapped by the crooks Hinky and Pinky.

Bibi Blocksberg (Animation - 39 x 26’)

At first glance, Bibi Blocksberg seems to be a girl like any other. She goes to school, has friends, yearns to have a pet and sometimes she has crushes. There is just one little thing that makes all the difference. Bibi is a witch. She inherited the magical ability for witchcraft from her mother Barbara.

Executives Attending

TOP EXecutivE Colin Bohm, Managing Director

TOP EXecutivE

The Little King

K/TTV MAGAZINE

Detentionaire

Gormiti – The New Adventure

(Full HD 3D CGI animation - 26 x 26’ – Fall 2012) The new Princes of Gorm are called to action when an ancient evil rears its head and the legendary Magmion returns!

DINOFROZ

(Animation - 26 x 26’ - Fall 2012) Four childhood buddies find a way of accessing a parallel time dimension, where they find themselves as dinosaurs, in the middle of a never-ending war with dragons!

TRASH PACK

(52 x 13’ - First 26 episodes ready on 2012) A typical afternoon in Garden City, blue skies, busy streets, people hurrying here and there, and down the highway go a stream of garbage trucks, all heading for Trash Town, otherwise known as ‘The Dump’, the place where all the garbage, trash, refuse, waste, recycling, and anything else people want to get rid of is sent. All without any idea of the weird and wacky things that happen in Trash Town. The first garbage truck rolls in and pours its morning collection into the mouth of the Sorter, a gigantic hodgepodge of gears, wheels, conveyor belts, and ramps. The gears turn, the conveyor belts move, and the trash all gets sorted by type and poured into robotic carts that take it to just the right sections of Trash Town: Compost Island, the Scrap Heap High Rise, Recycling Ranch, Toxic Waste Lands, the Gizmo Grave Yard, etc.

Detentionaire (Kids 6-11 - 26 x 30’)

Lee Ping was looking forward to his first year of high school, and then something crazy happened. Lee was falsely accused of pulling off the biggest prank in high school history and sentenced to one full year of detention! Now, every day, Lee must escape the Detention Room, infiltrate a new social clique and unravel another piece of this gigantic puzzle. Lee’s goal? To discover who really pulled off the totally EPIC stunt that he got blamed for while being a “normal” teenager. Filled with characters you could only meet in high school, Detentionaire is one wild ride.

Babar and the Adventures of Badou (Preschoolers - 52 x 30’ /104 x 11’)

Babar celebrates his 80th anniversary this year and Nelvana is producing a further 26 (52 x 11-minute) episodes of the CG-animated series. The star of the show is King Babar’s grandson, Badou, an adventurous eight-year-old who explores Celesteville along with his friends, while grandfather Babar is never too far away to provide guidance and support. The series has been sold to broadcasters in over 40 countries and is a Canada-France co-production from Nelvana Studio and TeamTO, in association with The Clifford Ross Company and TF1.

BEYBLADE: Metal Masters (Boys 6-11 - 102 x 30’)

The new episodes feature the Beyblade World Championships, which will also be held “live” for Beyblade competitors in Toronto in March 2012 at Corus Quay. This hit property based around spinning tops was relaunched starting in Japan in 2008 and it will be in over 50 countries by the end of this year, with over 80 million tops sold to date.

Best Friends

Superclumsy

Gogos Crazybones

Pajanimals

Sesame Workshop

TELEFE INTERNATIONAL

Televix Entertainment

THE JIM HENSON COMPANY

1900 Broadway, New York, NY 10023 Tel.: (212) 595-3456; Fax: (212) 875-6157 Website: www.sesameworkshop.org Stand: R30.24

449 S. Beverly Drive, Penthouse, Beverly Hills, CA 90212, USA Tel.: 1-310-788-5500 Fax: 1-310-286-0207 E-mail: sales@televix.com Website: www.televix.com Stand: 16.09

1416 North La Brea Avenue, Hollywood, California 90069, USA Tel.: +1 (323) 802 - 1500 E-mail: International@henson.com Website: www.henson.com Stand: Riviera Hall R31.05

Executives Attending

Gary Knell, President and CEO Terry Fitzpatrick, Executive Vice President, Distribution Carol-Lynn Parente, Senior Vice President, Sesame Street Creative and Executive Producer Renee Mascara, Vice President, International Television Distribution Sep Raihi, Vice President, Digital Media Business Development Celia Musikant, Assistant Director, International Television Distribution Beatrice Chow, Assistant Vice President, Publicity

TOP EXecutivE

Executives Attending

TOP EXecutivE

Scott Chambers, Senior Vice President, Worldwide Media Distribution

Fernando Varela, Director of International Business Area

Sesame Street’s Best Friends Elmo & Abby and Bert & Ernie have a brand new show! Whether they’re pretending to be animals, learning how to jump rope, or brushing their teeth these Best Friends engage children as explore their imagination, emotions, differences, health & hygiene, safety, manners, and of course friendship! The series will feature different styles of animations from around the globe including South Africa, Italy, Hungary, China, UK and Canada. So come along and bring your best friends to play and learn with the Sesame gang!

Super Grover 2.0 (Children - 13 x 6’)

It’s a bird. It’s a plane. It’s Super…Grover! With a billowing red cape, silver helmet, and the letter “G” across his furry blue chest, Sesame Street’s Grover is coming to the rescue in a brand new series. As he questions, observes, investigates and reports, our hero literally stumbles across the solution to problems all across the planet. This new series, which will also be featured as a segment on Sesame Street in the U.S. this September, emphasizes a STEM (science, technology, engineering and math) curriculum by encouraging young children to be active participants in the learning process by formulating observations into questions, finding solutions through trial and error, and making scientific concepts understandable.

Tony Piantedosi, Director of Development

TOP EXecutivE

(Children’s/Teen Comedy, 26 x 30’ + 26 x 30’) Poli Truper is a teenage super heroine who dreams about 3 things: To be a singer, to make his neighbor Felix fall in love with her and to save the world. The problem is that Poli only sings well in her dreams and each time she sees Felix, she forgets about the world and starts to levitate. Worse still, when she uses her super powers, for some reason or other, instead of saving the world, Poli ends up breaking everything. Filo her younger brother, Mía, her best friend and Chin, her nanny and trainer will do the best to help her and guide her, trying to cover all the mess Poli will leave behind.

Peter Schube, President & COO Patti Rose, International Sales Department Andrew Thomas, Manager, Worldwide Distribution & Events

TOP EXecutivE

Richard Goldsmith, EVP, Global Distribution

Gogos Crazybones (CGI Animation - 52 x 11’)

The zany Gogos, tiny creatures from a parallel dimension, use their amazing abilities to travel to Earth and hunt down human artifacts, with hilarious results! (CGI Animation - 1 x 95’)

SUPERCLUMSY

Executives Attending

Hugo Rose, CEO

The Illusionauts

Best Friends (Children - 26 x 6’)

Executives Attending

When an evil government plot unravels, four kids are bound together to travel through time and books on a mission to save the books and the world.

Stan Lee’s Heroman (2D Animation - 26 x 30’)

Joey Jones is a soft-spoken boy whose model robot grows into a massive weapon, while the boy himself grows into a hero who can save the world.

Pajanimals

(Preschool, 52 x 11’) An adorable new television series airing this autumn on Sprout, please join these adorable friends as they journey to imaginary lands to discover fun ways to meet the challenges or their day.

Dinosaur Train

(Preschool, CGI Animation, Season 1: 80 x 11’ or 40 x 22’ / Season 2: 52 x 11’ or 26 x 22’) Go for an adventure on the Dinosaur Train! Viewers will meet all kinds of dinosaurs in different eras and learn new fascinating facts about these incredible creatures.

Sid The Science Kid

(Preschool, CGI Animation, Season 1: 40 x 30’ / Season 2: 26 x 30’) Sid the Science Kid stars the inquisitive and funny preschooler Sid, and features music and humor to celebrate children’s natural curiosity about science in everyday life.

Fraggle Rock (Puppetry, 96 x 30)

With five international Emmy Awards, this funloving group of furry subterranean creatures entertains kids while encouraging them to understand and embrace diversity.

Dark Crystal

(Live action, 1 x 102)

TTV MAGAZINE/K

Directors Jim Henson and Frank Oz created a masterpiece of fantasy that has earned its place in cinematic history as one of the must-see classics of its genre, establishing a dedicated and ever-growing fan base around the world.

TTVKids&Teens news Animation

Uruguay

DANCE!

BRB TO PRESENT ‘KHUDA-YANA’ AT MIP JUNIOR, MIPCOM’ SPANISH DISTRIBUTION COMPANY BRB INTERNACIONAL will be presenting the animated series ‘Khuda-Yana’ during the next editions of MIP Junior and MIPCOM in October. The show was co-produced by Screen 21 and TVE in collaboration with ICAA and ICIC. It is comprised of 26 halfhour episodes and its worldwide premiere is scheduled for next year. The series follows the story of Khuda, a street pirate that is forced to face a destiny he wasn’t expecting: becoming Kosala’s next king. Everything starts when Khuda mistakenly steals the Mystical Tulip and awakens the Blue Girl, a genie that will try to mend his ways and turn him into a responsible monarch.

Latin America

‘Power Rangers Samurai’ Reaches New Territories MARVISTA ENTERTAINMENT announced several deals for ‘Power Rangers Samurai’ with broadcasters in the Latin American continent. These deals were signed through its associate distributor in the region, Snap TV in Argentina. The list of new channels that will broadcast the series includes América TV in Peru, TCTV in Ecuador, Corporación Medcom in Panama, Telefuturo in Paraguay, Unitel in Bolivia, Intrasas TV in Nicaragua and Monte Carlo TV in Uruguay. Nickelodeon currently broadcasts ‘Power Rangers Samurai’ all across the region and the show will soon debut in Mexico and Brazil.

CLIMBS TO THE TOP OF THE CHARTS THE FICTION -CO-PRODUCED BY POW WOW AND URUGUAY’S CHANNEL 10took the network 5 share points higher than its historic average. The series was created by Bill Borden and Barry Rosenbush, creators of the popular ‘High School Musical’. This new ﬁction tells the story of a family with a life that revolves around a dance school and two sisters who are giving their ﬁrst steps in love and life on the stage. The mega production was completely shot in HD and features an excellent cast of Argentine and Uruguayan actors, including Isabel Macedo, Juan Gil Navarro, Maxi Ghione, Justina Bustos and Eva de Dominici. Gustavo Cotta and Martín Mariani direct the musical series. “We are proud of the product’s level, which aired produced by the people at channel 10. We have 80 episodes ahead and intend to consolidate this highquality production at an international level,” said Daniel Gutman, CEO of Pow Wow.

Games

Captain America Gets Its Own Mobile Game DISNEY MOBILE AND MARVEL ENTERTAINMENT announced the launch of ‘Captain America: Guardian of Freedom’ for iPad, iPhone and iPod Touch in Spanish. The app features an epic action game set during the World War II with the comic book star as its main character. In the game, Captain America must stop Red Skull to avoid unbalancing the world’s delicate power balance. The game counts with HD graphics and touch controls as well as 24 levels. It was created by Christos Gage -a writer at Marvel and responsible for the game’s argumentand Ron Lim and Christopher Sotomayor, both designers and illustrators at Marvel. The app was deliberately launched simultaneously with the arrival of Paramount Pictures’ and Marvel Studios’ ‘Captain America: The First Avenger’ to movie theatres in order to reinforce the movie’s expectations.

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Launch

Televisa Networks Has a New Channel for Teens: TiiN TIIN, TELEVISA NETWORKS’ NEW CHANNEL FOR TEENS, started its broadcasts on September 5 on channel 317 of Cablevision and Sky in Mexico. TiiN’s programming includes series, videos and music programs, films and special content on fashion, technology and the environment, among others. Loyal to its target audience, TiiN includes an interactive multiplatform project for TV, internet and social networks featuring apps and promotional campaigns. Its programming grid will initially include both telenovelas -such as ‘Consentidos’, ‘Atrévete a soñar’ and ‘Atracción x 4’- and films -like ‘El verano de los Plumm’, ‘Brazalete mágico’, ‘Piedras y palos’, ‘Mi padre el genial’, ‘Lassie’, ‘Los lentes mágicos de Moe’, ‘Calabozos y Dragones’ and ‘Space Chimps’.

Mexico

TV Azteca Premieres ‘La Academia’ in 3D The show premiered its ninth season on August 21 in three dimensions, becoming a super production and the first program to be broadcast using this technology in Latin America. ‘La Academia’ also became the first 3D reality show in the world. The show’s 360° stage hosted the season’s first concert, which was broadcast live in 16 countries featuring Khriz and Angel, who performed their latest single, Na de Na. This year’s edition of the reality show includes contestants from Mexico, Argentina, Puerto Rico, Cuba, Ecuador, Venezuela and the US. ‘La Academia’ is hosted by Chilean anchor Rafael Araneda and Bibi Gaytán, a Mexican singer and actress. Singer and actor Eduardo Capetillo will be in charge of guiding all 35 contestants throughout the competition.

Argentina

Telefe International Creates New Business Development Division

Appointment

Monica Galer Appointed President of FremantleMedia France

Zephyr Media to Create Vibrant TV Zephyr Media Group, a Chicago-based company that acquires and manages media, currently leads a consortium of companies that is planning to launch Vibrant TV, a channel focused on showcasing content produced abroad. The channel is expected to start broadcasting in June 2012 and will program content divided into reality, series, sports and kids’ blocks. Dan Zifkin, CEO of Zephyr Meida, will be present at MIPCOM with the new channel’s proposal, seeking to seal deals with different international agents. Vibrant TV will be funded by ad spending and the company expects to make it available via terrestrial and satellite platforms. Zephyr Media will be in charge of its advertising sales, focusing on international advertisers such as hotels and airlines.

Appointment

Caracol TV Internacional Appoints New Head for EMEA The Colombian distributor announced the appointment of Roberto Corrente as its new head of business in Eastern Europe and Asia. Corrente will work from the company’s Spanish headquarters to serve the distributor’s needs in that area. “My main goal for this new stage that has just started is to build on the internationalization process of Caracol Televisión’s products across these markets, which have considerable growth potential, and guarantee the penetration of our content through a renewed personal relationship with customers, based on the confidence and effective response to programming needs,” the executive said.

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Desde el 1º de setiembre, Monica Galer concentra su trabajo en la administración As of September 1Monica Galer is concentrating on the overall management, strategy and business development of the company’s French division, in the newly created role of president of that company. This move signals an intensification of FremantleMedia’s focus on France, a key territory for the company. This also marks the end of a process of revitalization of FremantleMedia’s operations in Northern and Southern Europe, led by Galer as CEO for the region. During said time she built new management teams in The Netherlands, Belgium, Italy and Spain, while fulfilling her responsibilities as CEO of FremantleMedia France.

Telefe International announced that a new business development division has been created to build on the distributor’s expansion of its content portfolio. The new division will also handle products for emerging platforms, strategic alliances and co-productions. This new division will be under the lead of Guillermo Borensztein, who formerly served as a sales executive for the area, reporting directly to its director Fernando Varela. “By creating this new division Telefe International is seeking to work in more depth on the new international market signaled by numerous competitors, financial/economic crisis and technological progress. The international business department is going through this restructuring process to sustain and boost its leadership within a highly competitive market. Telefe International’s growth and consolidation have led us into reorganizing our structure in order to solidify our position within such a changing market,” said Fernando Varela, international business director at Telefe International.

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Googlerola As the new owner of Motorola’s set-top box business, Google will finally be able to shake the world’s TV industry - with or without the support of pay TV companies in the US. The market where all of this could happen is none other than Latin America. By Stephanie Biscomb Twitter: @sbiscomb sbiscomb@todotv.tv

oogle announced it will acquire Motorola Mobility on Monday, August 15, leaving the public with more questions than answers. Speculations on what was the main reason behind the internet giant’s decision to pay US$12.5 billion for the US cell phone and set-top box manufacturer continue to bloom. There are number of different theories: some say that this was a defensive move amidst a patent war imposed by mobile competitors (Apple and Microsoft among them), while others say this was an aggressive move to break into the mobile headset market.

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Most people around the world are talking about what this acquisition means for Google’s operative system Android. Yet Google has not only bought 20,000 new employees, 17,000 patents and a cell phone manufacturing business - it also took hold of Motorola’s settop box business, something that obviously concerns the TV industry worldwide. A NEW FRONT DOOR. Motorola is the main set-top box provider for the US cable industry. In fact, this business represented 30% of the company’s income during the first quarter of the year, earning US$900 million for the company in three months. By acquiring Motorola, Google now owns the device in every pay TV subscriber’s living room and the chance to merge it with its Google TV platform almost seamlessly. Of course operators -who

are so afraid of the new generation of open OTT platforms- might not be willing to share their packages with Netflix or Hulu apps within the same operative system. Yet just possessing that much market share will give Google invaluable leverage when negotiating with cable companies and TV manufacturers. Google has not implemented the smartest sales strategy for its OTT platform. Its main

“Google will have access to all kinds of audience metrics via the Motorola set-top boxes, getting first-hand data on people’s TV viewing behaviors.” providers have already made dramatic price readjustments in set-top boxes and Google TV-enabled sets, with one of the cases (LG’s) showing more people returning the device than buying it during the last quarter. Yet focusing directly on operators through Motorola set-top boxes is exactly what Google TV needs to change its destiny. THE RESURRECTION OF GOOGLE TV. If Google restructures its strategy in another

direction -and if operators follow suit- it is very likely that the giant will end up leading a market that still has its top spot up for grabs. And let us not forget the emerging OTT market, which has already forecast the death of the set-top box. A symbiosis between settop boxes and a platform like Google TV could very well be the next step in its evolution. Everything seems to indicate that users will soon watch TV through a Google TV-enabled device while using Android tablets and smartphones to check their e-mails in Gmail, interact via Google+ and surf the web using Google. All of a sudden, the future of crossplatform and TV Everywhere seems to have an unquestionable monopolic leader. But we’re not just talking about the US this time: according to consulting agency Dataxis NexTV, Motorola’s set-top boxes enjoy great penetration rates in Latin America’s digital pay TV market. In fact, all of its main players -except for Net in Brazil- have digitalized their

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operations with the brand. And operations in the region made up 13% of Motorola’s Home Division’s revenue in the year’s second quarter, generating US$907 million.

Google will have access to all kinds of audience metrics via the Motorola set-top boxes, getting first-hand data on people’s TV viewing behaviors. It will not only be able to measure metrics better than in linear TV, it will also be able to offer revolutionary advertising tools that are more accurately focused on

The company that has always prided itself in following the “don’t be evil” motto has just made the most spectacular and evil move of its history. And despite the Google-Motorola marriage being very promising for the future of mobile devices, the potential it holds for the future of the TV market is as big or even bigger than we can even imagine.

Yet the idea isn’t that insane. Pay TV operators in Latin America have already battled against all of the obstacles that Netflix is just starting to dabble in. Service penetration has grown at high speed and they are the sole conductors to an entire ABC1 demo - the same demo Netflix will target. In fact, siding up with operators might even be the only alternative to settle the US company’s efforts in the region, taking advantage of preexisting platforms that have already gone through the hassle.

A CLOSE EYE ON NETFLIX. And let’s not forget about Netflix. According to what they’ve told ttv, the streaming service’s arrival to Latin American has made operators nervous enough to reach out to the company looking for partnerships to offer yet another value-added service to their subscribers. So far, nothing even hints at Netflix being interested in partnering with operators - and following this route would be unprecedented for the company.

But the big question is whether these pay TV operators would be willing to let Google merge its own platform into their set-top boxes, making their own content compete with other sources, such as Netflix and the internet as a whole. This scenario is unlikely in the US. Yet if operators in Latin America are already thinking about combining Netflix into their own packages in order to defend themselves from its future success… why not? ttv

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A SOUND BUSINESS. But nobody should forget that even though Google has previously ventured into the most diverse business fields, its profitability lies in the advertising platform standing strong behind all of its products. Let us imagine for just one second that pay TV operators aren’t willing to let Google TV flood their services. Even in that case, the new set-top box business does not prevent Google from doing what Google actually does best: data collection.

niches and personalized to each audience segment based on behavior patterns while watching TV.

Noticias News ttv Germany

Pay TV

all ready for a seCond season of arMoZa forMat’s ‘CoMedians at worK’ armoZa formaTs has liCensed its format ‘Comedians at Work’ for the production of its second season on RTL, one of the main German broadcast networks. The premiere was on September 17. The show will be once again hosted by Kaya Yanar and Paul Panzer. ‘Comedians at Work’ sends comedians to different jobs for a day. They must then come back to the studio and perform stand-up routines on the job they worked at. The German version will be headlined by celebrities from that country and will be produced by Endemol. The first season of the show aired in JanuaryFebruary 2011 and captured an average of 300,000 new viewers per episode. In this way, the series increased its general audience share, reaching almost 30% in the 14-49 demo. This number is double the shares achieved by other shows in the same timeslot.

Formats

‘The Dr. Oz Show’ Tours Latin America The 2wayTraffiC formaT was acquired by Ecuavisa and will now have an Ecuadorian version. The channel ordered 60 episodes of the show’s local version that will air in early 2012. Each episode will be an hour long and will be produced by the network. The show’s first season was a huge success in the US and Brazil, where TV Record has extended its order to 44 episodes. In Brazil, ‘The Dr. Oz Show’ achieved a 5.23/13.38 average household share during its nine weeks on the air and its new episodes will once again be produced by Floresta, a production house created by SPT and producer Elisabetta zenatti. The format also premiered in Chile on Mega TV, earning the network second place in ratings. ‘The Dr. Oz Show’ also has local versions in Russia, China and the Middle East.

France

Two French TV Giants at war while Tf1 demands CanalsaT -Canal+’s pay TV Company- to resign to its exclusive broadcasting rights over its channels (Eurosport, Eurosport 2, TV Breizh, Ushuaïa, Histoire et Stylia) as of 2012, Canal+ says that it is not willing to pay the 70 million TF1 asks for. The operator argues that, in fact, it is no longer interested in the whole channel package but only in sports channel Eurosport, for which it would be willing to pay as much as 10 million. The CSA (Comité Supérieur de l’Audiovisuel) will have to intervene in the dispute and could make Canal+ offer a better price for the suing party’s channels - something that actually happened in 2007 during the second round of negotiations for Fox Networks’ channel Voyage with Canal+. Meanwhile, TF1 announced that it has finalized some new deals, particularly with Bouygues Telecom (10 million euros) and Orange (10 million euros), two companies currently active in the internet and mobile sectors.

An X-RAy oF THe CHIleAn TV mARKeT CnTV’s seVenTh naTional TV surVey shows growth in every category: consumption, viewing times and pay TV penetration despite -or as a consequence of- a growing dissatisfaction with broadcast TV content. Among its main results, the survey shows -as in the rest of Latin America- growth in the pay TV sector. From 43.4% in 2008, penetration grew to 63.1% nationwide in 2011. As it is also happening in neighboring markets, the most significant increase was recorded among the C class, which grew from 16.1% to 36.9% in the last three years. According to this report, TV consumption also grew throughout this three-year period. Chilean viewers now watch TV (broadcast and pay) an average of 3:24 hours a day, compared to 3:17 hours of TV viewing time recorded in 2008. Broadcast TV also continues to be the number one media that Chileans use to inform themselves with local, national and international news. Yet people surveyed said to be quite unhappy with programming on broadcast TV: 38.2% complained about the showbiz content and 18.7% of the lack of cultural content. The survey also reveals that 73% of the people surveyed watch TV together with their families during the week and weekends, 79.5% said they watch the news with their family, as well as films and interview and cultural shows, in that order. Shows for the teen audience were another point of criticism: 70% of the people surveyed think that they show teenagers from a shallow perspective and 68% believe that they are shown as sexual objects. Reality shows, gossip and showbiz programs were also criticized.

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Obituary

Renowned Executive Oscar Belaich Passed Away osCar belaiCh passed away on June 29. He was working as sales manager for the Southern Cone at Televisa at the time of his death, which came about as the result of several health complications according to close family sources. Baleich was one of the executives with the longest track-records in the industry, having worked for several different media outlets in Latin America. He was also responsible for the sales of renowned formats such as ‘Bailando por un Sueño’ and held important roles in Argentina’s Channel 9. The executive was also a programming consultant for Telefuturo channel in Paraguay for many years and some even say he was close friends with Antonio Vierci and other important TVrelated entrepreneurs from the region. Oscar Belaich was instrumental for more than a country’s TV market and the mastermind behind several transformations in the region’s fiction and entertainment fields. He will be missed.

Executives ttv

Three Decades of Celebrations In 1981 Brazilian viewers received the first SBT images on their TV sets. Today, the network is celebrating its 30th anniversary with more original productions and a clear emphasis on new technologies.

By Josefina Mezzera Twitter: @jmezzera jmezzera@todotv.tv

“We launched our new visual identity with a new slogan, logo and a renewed website.”

his last August 19 SBT (Brazilian System of Televisão) -one of Brazil’s top broadcast TV networkscelebrated its 30th anniversary. And to make it count, the broadcaster is diversifying its celebrations, which go from specific nationwide advertising campaigns on all platforms to public displays showcasing the network’s history.

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“We launched our new visual identity with a new slogan, logo and a renewed website,” Daniela Beyruti, art and programming director at SBT, told ttv. The company also hosted a big party with close to 3,500 employees, a special event for the advertising market at the Hotel Jequitimar and an exhibition opened to the public at the Museum of Fine Arts in Sao Paulo that summarizes the broadcaster’s 30 years. “Still ahead is a tribute that the Local Chamber of Sao Paulo will pay to SBT and its founder, businessman and host Silvio Santos and several internal commemorations at our regional and affiliate stations,” she added.

Daniela Beyruti,

Director of Art and Programming, SBT

THE CHANNEL’S STAR. SBT’s image is closely related to the figure of Silvio Santos, one of the most outstanding personalities in Brazilian TV. “A public opinion poll recently revealed that he is by far the most beloved personality in the country, even before former president Lula,” Beyruti said. The charismatic host has understood audiences throughout the years and viewers have remained loyal. “We know that Silvio Santos represents Brazilians, he speaks the language of the people and his simplicity has made him very close to his audience, which comes from the C, AB and D classes,” she added. For SBT’s director of art and programming, the most symbolic moment in Santos’ relationship

with the channel was when 30 years ago he signed the concession for Channel 4. That channel is today known as SBT. “It was the same day in which he finally achieved his career-related dreams,” she said EVOLVING WITH VIEWERS. In a country that looks more like a continent and where competition in broadcast TV is battled by world-class fighters, staying an audience favorite is definitely not easy. How has SBT managed to remain so successful throughout three decades? “Transparency and loyalty to the audience and the market,” Beyruti said. “Our philosophy has always been to provide high-quality entertainment and news shows to the audience, in a relaxed and accessible way,” she added. But the fact that SBT has tried to have a simple and natural product does not mean that it has been indifferent to market trends and Our Sunday Show Host: Celso Portiolli

Executives ttv

Photo: Roberto Nemanis SBT

the fundamental belief that these media will increasingly become a bigger part of people’s lives. This is why SBT created a special team that’s exclusively dedicated to this promising segment. “We have a specialized team working with emerging platforms and seeking partnerships to increase SBT’s presence and expand its audience,” she said. According to the executive new media are tools to “listen to the audience’s opinion and to provide a quick response.” The channel is investing in interactivity. “SBT was the first broadcaster to have 24/7 interactivity on its digital broadcasts. Our idea is to give viewers the chance to choose what they want to watch on SBT. We know this is a long process, but it’s necessary to plan and invest now in order to reap what we sow later,” she said. Brazil’s analog blackout is scheduled for 2016 but implementations started in 2007. In regard to this, Beyruti said that SBT is certainly ready for that. “We have an overall number of 109 weekly hours of digital production and 26.5 weekly hours of HD. Our goal is to make our broadcasts 100% digital. In order to achieve that goal we are gradually investing in infrastructure and professional training,” she said.

Programa Silvio Santos Entertainment

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“We have an overall number of 109 weekly hours of digital production and 26.5 weekly hours of HD. Our goal is to make our broadcasts 100% digital.” We have the capacity to shoot eight shows and a telenovela a day. And we are working to keep updating our facilities.”

audience demands. “Our everyday challenge is to develop stable programming with content that evolved along with viewers and advertisers, keeping the pace of economic and social transformations driven by new technologies,” Beyruti said. The executive pointed out that the network also holds a new media strategy, based on Our Sunday Show Entertainment

BUYING, SELLING, PRODUCING. Original production is one of the network’s most important business areas. It currently produces 64% of the content on its grid, which represent about 16 hours of content per day (an average of 10 hours a week), shot in its studios at Complexo Anhanguera. The SBT complex is one of the largest production hubs in Latin America: 54,000m2 constructed over a 231,000m2 area. “It has eight studios of about 800m2 each, plus a city-set, and a broad and modern journalistic area,” Beyruti said. “We have the capacity to shoot eight shows and a telenovela a day. And we are working to keep updating our facilities.” The executive mentioned three new projects for the coming months: ‘Um Milhão na Mesa’ (‘The Money Drop’) acquired from Endemol; ‘Vivendo com o Inimigo’, a reality show developed by the SBT team; and “another reality show that’s 100% interactive but its name hasn’t been revealed yet.” Two of the aforementioned projects have resulted from negotiations conducted during international tradeshows. “SBT takes part in events like MIPCOM, where in addition to selling its products it can get to know other broadcasters’ content for future partnerships to keep building on its world expansion,” Beyruti said. “The idea is to attend more events like this one,” she concluded. ttv

Executives ttv

An Internationally-Molded

Portfolio A+E Television Networks’ channels are everywhere: from Chile to China and from Mumbai to Helsinki. Sean Cohan talked to ttv about how to successfully carry out a joint venture worldwide strategy, with the launch of its Crime & Investigation network in Spain, Poland and Benelux as his main example. The company also holds an international catalog featuring 550 new hours of content. Lifetime’s international launch is next.

By Sebastián Torterola Twitter: @storterola_ttv storterola@todotv.tv

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“Our challenge as content providers in a fragmented market is to make our brands stand out, and to create a desirable destination for viewers.”

Sean Cohan,

International SVP, A+E Television Networks

couple of months ago, during major pay TV tradeshow ABTA in São Paulo, Jeff Shell, president of NBCUniversal International, complained: “If we look into the 50 largest companies in the US we are the last ones in income from foreign operations. It is imperative for Comcast and NBCUniversal to grow beyond US borders.” Certainly, what the largest cable operator in the US is trying to do now was long ago been achieved by A+E Television Networks through a solid and consistent international expansion strategy. A+E Networks has 47 channels available in 35 languages in more than 150 countries. All channels are operated through a web of joint venture partnerships with strong regional players like BSkyB, Astro, Ole, and Network18 in India. “Beyond that, we have licensed partnerships with local providers to deliver to local channels in a handful of territories. We have a strong channel operations team in more than 20 cities from Madrid to Mumbai and corporate offices across New York, London, and Singapore that manage and grow these channels,” Sean Cohan, the company’s SVP for the international arena, said. The overall amount of A+E Network’s worldwide subscribers is impressive: 300 million TV households. This successful business model is based on two main pillars: brand building and original production. And, still dealing with fragmented audiences, the strategy has worked. “The marketplace is crowded with a number of channels and that’s good for the consumer. Our challenge as content providers

in a fragmented market is to make our brands stand out, and to create a desirable destination for viewers. A+E Networks does that by producing top quality, innovative TV that viewers want to watch,” he assured. “So far we have been successful,” he adds, quoting persuasive market research numbers: in the US, A&E Network, HISTORY and Lifetime are all within the top 10 in their respective demographic segments. Outside the US, they are ranked “as the number 1, 2 or 3 factual channels in key markets.” According to Cohan, “A+E Networks has put an emphasis on original programming and great storytelling. Consumers want originality and freshness, and that’s what they get with our channels and content. That strategy is paying off worldwide.” Storage Wars A&E

Executives ttv

Q4, as a result of A+E Networks TV 18, its joint venture with local Networks18. “President Ajay Chacko has assembled a talented and experienced team and they have set some ambitious goals for year one which I have no doubt they will achieve. HISTORY is just the beginning for us in India,” Cohan ambitiously assured. Furthermore, there is also an active Mandarinlanguage branded block in China called “New Horizons”, held in partnership with local YC Network. It features programs from all of A+E Networks US channels and it currently reaches over 130 million households throughout the country. “India and China are both important strategic markets for A+E Networks. We look forward to bringing more content and brands to these markets as is possible. We have at least one channel in virtually all markets and aim to expand to distribute the full portfolio of channels everywhere,” Cohan pointed out. Pawn Stars History

“We launched Crime & Investigation Network (CI) Spain in January, making it the third successful channel in the portfolio there.” “HISTORY is ranked as the number 2 cable network in Mexico in its key demo YTD and the number 1 factual channel in Mexico and pan-regionally.”

THE INTERNATIONAL ROUTE. The scope of the company’s international operations is wide and it involves dissimilar partners and initiatives. “Indeed, 2011 has been an eventful year for us. For instance, in Iberia, Carolina Godayol was appointed managing director of our joint venture in June. We launched Crime & Investigation Network (CI) Spain in January, making it the third successful channel in the portfolio there,” Cohan stated. Another market that has brought significant satisfaction for A+E is Latin America, where “record results” have been achieved with its channel portfolio. “HISTORY is ranked as the number 2 cable network in Mexico in its key demo YTD and the number 1 factual channel in Mexico and pan-regionally,” Cohen said. Back in Europe, AETN UK, a joint venture with BSkyB, has “continued to drive distribution” of A+E brands in Northern and Central Europe, including the launch of CI in Poland and Benelux this year.

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The company has also recently announced HISTORY will launch in India by the start of

American Pickers History

And the international route will continue with A+E newest brand: Lifetime. Indeed, in several occasions the company has expressed its intentions of rolling-out the channel internationally. Yet nothing is certain so far. Cohan said opportunities are being explored since there’s a lot of interest in the brand internationally. “Lifetime US has greenlit and produced lots of compelling, relevant content in short order. We are optimistic about the global prospects for this leading US brand and its movies, reality, and drama.” THE NEXT BIG THING. A+E Networks will arrive at MIPCOM with a robust program catalog with programs that cut across all genres: this year there will be over 550 new hours of content, pushing the total to 10,000 hours. “Leading the charge is mega-hit ‘Pawn Stars’, which has boosted HISTORY to the number 1 cable network in its timeslot on US Monday nights. The series success has translated overseas and is driving ratings in Latin America, the UK, South East Asia and many other territories,” Cohan affirms. Other series with good global performances include ‘Ice Road Truckers, IRT: Deadliest Roads’, ‘American Pickers’, ‘Ax Men’ and ‘Swamp People’. “’Storage Wars’ has propelled A&E to the number 1 network in all television, including broadcast and cable, in the Wednesday 1011pm timeslot with the A18-49 and A2554 demos. We’ve just begun distributing the series internationally and are seeing strong results so far. Other key series for the network include ‘Gene Simmons Family Jewels’, ‘Intervention’, and ‘Heavy and Hoarders’. A&E is the undisputed leader in the non-fiction crime genre in the US, driven by series such as ‘Beyond Scared Straight’, ‘Dog the Bounty Hunter’, ‘The First 48’, and ‘The First 48: Missing Persons’, among others,” Cohan concluded. ttv

Reportaje Spain’s Growing Distribution Sector

Audiovisual

for Export

Suitably projected toward the foreign market, Spanish production and distribution companies seek -and find- greater revenues outside the country’s borders, and unsurprising phenomenon considering the pain inflicted by its ongoing economic crisis. The result is a sector that’s noticeably growing at an international level, supported by the clear definition of its technical and creative strengths and obtaining up to 65% of its revenues outside the local market. By Rodrigo Ros Twitter: @rostodotv rros@todotv.tv

The Boarding School Imagina

Carlos Biern, VP Ejecutivo de BRB Internacional

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Gonzalo Sagardia Vertice, Sales, Vertice Sales

ocumentaries, new fictions, format adaptations and sales or animations: Spanish production is growing strong and its international alliances are being devised with the future in mind. Latin America is, in this sense, the territory at which distributors seem to aim with the greatest care. Here is where the Spanish seem to have the greatest likelihood of success as both share a language and several idiosyncrasies. “Latin America is living an excellent moment, both in economic and creative terms. So the opportunity to co-produce is greater than the opportunity to distribute Spanish content. And we have an added value which cannot be found in any other country: we speak the same language,” Tony Albert, sales director at Motion Pictures, explained to ttv.

“The co-production of cinema and, above all, animation series and mini-series aimed at a kid and teen audience in Brazil, Mexico and Argentina are already fact,” Carlos Biern, Executive VP at BRB Internacional and president at DIBOOS -the Spanish Federation of Animation Producers- added. Examples abound. Imira Entertainment, for instance, will be launching its new animated series ‘Lucky Fred’ during the next edition of MIPCOM. This production is the result of a co-production between Imira and Disney Europe (which will have the rights for all of Europe), Nickelodeon (which will distribute the show in Asia, Benelux and Latin America) and RAI in Italy. “These agreements have allowed us to assure distribution to 150 countries,” said Sergi Reitg, CEO of Imira Entertainment.

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“Latin America is living an excellent moment, both in economic and creative terms. So the opportunity to coproduce is greater than the opportunity to distribute Spanish content” (Tony Albert, sales director at Motion Pictures). But not only co-production has gained a separate place in the businesses devised between Spanish distributors and the international market. Cases like that of ‘Pocoyo’ -distributed internationally by Zinkia- or that of production company Filmax’s feature films confirm the sector’s recognition outside the Iberian Peninsula. DTT, VOD AND NETFLIX. The development of new platforms lets the entire industry enjoy the benefits of a promising diversification to its production sector. DTT in Spain and the rest of Europe, the development of new VOD platforms and the arrival of international players such as Netflix definitely open new distribution outlets. “The emergence of digital channels worldwide has created a need for buying international content and we Spanish producers have known how to make the most of this situation by producing less local and more international products,” said Gonzalo Sagardía, managing director at Vértice Sales. In regard to Netflix’s arrival to Latin America and its potential launch in Spain in 2012, Tony Albert said that “it may be a great opportunity for independent producers. That will give us the option to reach the final customer without needing to go through TV channel sales.” Laura Miñarro, sales manager in charge of Latin America of Imagina International, considered that “it’s still too soon to tell but broadly speaking Netflix’s arrival to Latin America will be positive since it will offer an additional option for customers. We understand that Netflix will be successful

among certain demos but it’s unlikely that it will replace TV consumption.” In turn, Sergi Reitg explained that “almost 65% of our revenue comes from abroad and close to 30% of that comes from Latin America.” This is definitely a substantial percentage that evidences the great relationship Spanish and Latin American companies are enjoying today. AUDIOVISUAL FROM SPAIN. During the next edition of MIPCOM about 30 Spanish companies will be gathered once again in the Spanish audiovisual pavilion. The aim of Audiovisual From Spain -financially supported by ICEX- is to support, spread and offer advice on international distribution. Some of the companies attending are EXPLORA FILMS with new documentaries such as ‘The Curse of The Magic Horn’ (52’) or ‘Millennial Peru: The Unexplored History’ (52’); ANTENA 3 presenting a series set in 1905 about a young man who investigates his sister’s disappearance, ‘Grand Hotel’ (8x70’); ZZJ from Anadulsia presenting ‘Ten Reasons’, a 30-minute daily documentary program on the 10 amazing reasons why everybody should travel around Andalusian cities; BRB INTERNACIONAL with its two 3D projects for TV: ‘Canimals’ and ‘Zoobabú,’ as well as its newest co-production with TVE ‘KhudaYana’; IMIRA ENTERTAINMENT presenting ‘Lucky Fred’ and ‘Espape Hockey’; IMAGINA INTERNATIONAL presenting the new series ‘Punta Escarlata’ and the historical mini-series ‘Corazón del Océano’; VERTICE SALES with the documentary ‘Wild Connection’ (6x52 HD) and the fiction ‘Aquí me las den todas’ (87x30); and MOTION PICTURES with its latest animated series ‘Glumpers’ (104 x 2’ o 26 x 11’), a slapstic comedy with no dialogue that can be adapted to any multimedia format, among others. ttv

“The co-production of cinema and, above all, animation series and mini-series aimed at a kid and teen audience in Brazil, Mexico and Argentina are already fact”

An al yt ics –

(m i on qu th e Ju ly v ly 20 av is 11 er ito ) ag r e) s

Laura Miñarro, Imagina International

Sergi Reitg, CEO de Imira Entertainment

Toni Albert, Motion Pictures

(Carlos Biern, Executive VP at BRB Internacional and president at DIBOOS).

The consequences of the advertising ban on public channel RTVE started to show in last year’s numbers. Ad revenue in private networks increased 24.7% in 2010 earning an overall 1.9 billion euros according to the CMT Annual Report for that year. On the other hand, the drop in ad revenue in public TV was abrupt as it went from 638 million euros in 2009 to 247 million euros last year. Despite the economic recession, the Spanish electronic communications sector had three significant turning points for ad spending in 2010: the boom of mobile broadband, a recovery in investments and the multiplication of competition in all activity segments. Bernardo Lorenzo, president of the Telecommunications Market Commission (CMT) summarized it in that way on the 2010 Annual Report. In general, the audiovisual services sector earned 4.4 billion euros -excluding subsidies-, 2.1% less than during the previous year. According to the CMT report, the main cause behind this drop was a sharp fall in pay TV turnover. Yet pay TV subscribers still grew 7.7% during 2010, reaching almost 4.6 million households.

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Broadcast TV Revenues Grow for the Private Sector

Noticias News ttv Distribution

P.E. Media Services Blasts into the Market With a track-record of 30 years in the industry, José “Pepe” Echegaray, head of distribution for Power in Latin America during the last five years, now launched his own start-up. Power and RHI will continue to be represented by P.E. Media Services. As VP of distribution and new businesses, José “Pepe” Echegaray is now closing an era. “It is a transition from my relationship with Power but, mostly, an opportunity to launch my own project to serve clients in Latin America and the US Hispanic market,” he said. Since its recent launch, P.E. Media Services is focused on developing closer connections with the region. The distributor owns a portfolio full of major productions headlined by the documentary on the Chilean miners titled ‘33’, which has already been bought by The History Channel for Latin America. ‘Paulina y Amigos’, a music special produced in Miami and has been already sold to TV Azteca, and ‘La Leyenda de Shaolin’, a 42 episode kungfu series, have also joined the distributor’s catalog. “Our next milestone in the agenda is to officially launch the distribution company at NATPE, where I will be promoting the company and its entire product catalog,” the executive said.

Formats

Absolutely Independent Continues to Grow in Latin America A growing number of formats are being successfully adapted in Latin America. This is the case of Absolutely Independent’s ‘Singing Office’, a collaboration between Absolutely Independent and Sony Pictures that is already on Brazilian, Ecuadorian, Uruguayan, Chilean and Colombian screens. In Uruguay, for instance, the format won an Iris Award as Best Entertainment Show for 2010. Another format, ‘The Phone’ -produced by Fremantle Brazil- has just confirmed a new season that’ll air on the Bandeirantes network, while ‘Flying Start’ has become the longestrunning format in Latin America with 120 episodes and counting. ‘Flying Start’ continues to captivate audiences on Colombia’s Bogotá TV.

Events

Everything Ready for the Latin American Edition of PromaxBDA The Hilton Hotel in Buenos Aires will host the 2011 edition of PromaxBDA in Latin America on October 18. The event will feature its yearly Award Show and Creative Conference and is already confirming its first speakers. The competition -open to projects broadcast, published o distributed in the US and Canada, as well as Spain and Portugal- will seek to acknowledge the best marketing, promotions and design in electronic media campaigns that ran between July 1, 2010 and June 30, 2011. This year’s conference will feature Mauricio Carrandi Lámbarri, general director of image and advertising for Televisa; Maribel Martínez, creative director of corporative image for the same company; and Corina Capuano, VP of creative services for Fox Latin American Channels. All three will present their own case studies and speak about current sales, promotion and design trends.

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Licensing

BRB Present at Brand Licensing Europe BRB Internacional will attend de Brand Licensing Europe to be held in London in mid-October. There, it will present the first licensed products from ‘Kambu’, a television show that won the MIP Jr. Kid’s Jury Award in 2009 for best preschool series. The show now counts with an array of spin-off products that include stuffed toys and technological devices such as MP3s, USBs and more. The company will also announce the premiere of ‘Canimals’ on European television. BRB is already working on launching several products based on ‘Canimals’ as well. Finally, it will also showcase properties managed by Cartoon Network in Spain and Portugal, with ‘Generator Rex’ -one of its Turner Cn Enterprises licenses- among them.

TTVProduction report Latest Original Productions From Latin America

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New Business Models WHY ARE LATiN AMERiCAN TELEViSiON SHOWS GROWiNG iN POPULARiTY WiTH GLOBAL AUDiENCES? THiS iS THE QUESTiON THAT TTV’S GROUP OF GUEST PANELLiSTS WiLL TRY TO ANSWER BASED ON THEiR OWN EXPERiENCE AND kNOWLEDGE OF THE MARkET. iN A WORLD WHERE BUSiNESS RELATiONSHiPS AND BUYiNG HABiTS TEND TO GLOBALizATiON AND iNTERCONNECTiON BETWEEN PLATFORMS AND ACTORS, A BACkGROUND ANALYSiS ON THE DiFFERENT BUSiNESS MODELS iN EACH ONE OF THESE TERRiTORiES BECOMES ESSENTiAL TO FiNALLY UNDERSTAND THE NUANCES OF A ONE-OF-A-kiND MARkET. By rodrigo ros Twitter: @rostodotv rros@todotv.tv

todotvmedia

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ttv is a monthly publication owned by TodotvMedia. Its distribution is free of charge. The articles reflect the opinions of the individual authors on the topics covered, without implying editorial control or endorsement of the content by the management and ownership of the magazine. For all purposes, the advertisements and their content are the sole responsibility of the advertiser. Reproduction in whole or in part, in electronic or print form, of the content of this publication, without express written permission of TodotvMedia is strictly prohibited.

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atin America has so far been known for its expertise in telenovelas but is now showing its huge capacity to adapt to the opportunities provided by broadcast television, Par-Per-View, DTT, mobile platforms, audience fragmentation,

margins also grow, as well as the technical capacities and the knowledge of those who produce, create and adapt original ideas which are then reproduced in other territories, within and outside the Latin American continent.

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ENDEMOL ARGENTINA

Cuestión de Peso

Bariló, A Todo o Nada

'Cuestión de Peso' is the program looking to change life standard of all Argentinean man and woman, and returns with a new season. Almost 2,000 people attended River Plate’s Micro-stadium to take part in the show’s new season. This year, new presenter Claribel Median will be accompanied by a panel of professionals headed by Dr. Cormillot. Sections, challenges, games and healthcare are the traditional characteristics of ‘Cuestión de Peso’, the healthier show on TV.

‘Bariló, A Todo o Nada’ is the new entertainment cycle presented by Guido Kaczka, in which students will be able to win their all-in trip of graduation if they are able to surpass their own limits. The show will feature the riskiest challenges, the funniest games and will be full-packed with adrenaline. Two school teams will face each other and will have to overcome several tasks. Each group will be identified by colors blue or red. Teams will choose a captain, who will decide, among other things, which of his fellows will participate in each game. They will also count on their supporters in the audience to cheer them in each game. Parents also play, and will put all of themselves to take the most incredible prizes: $100.000, a 0km car and electrical appliance.

“One of the fields of greatest growth in the last years within content production has been the creation and adaptation of fiction and entertainment formats by independent producers”.

interactive content and property exploitation. As television consumption grows, the tools to evaluate return on investment and risk

FORMAT ADAPTATION. One of the fields of greatest growth in the last years within content production has been the creation and adaptation of fiction and entertainment formats by independent producers. Cases like that of Endemol Latin America, headed by Martín Kweller in Argentina, offer great examples to show up to which extent this content generator in South America can turn local content into a worldclass business.

The Endemol group has, as we all know, offices around the world adapting and developing new formats such as the famous ‘Big Brother,’ as well as others which are locally created and developed and then sold internationally, in co-production, on demand or in coordination with networks. There are many business models and examples vary even more. Entertainment formats like ‘Operación Triunfo,’ developed in co-production with Mega from Chile, ‘Policías en Acción,’ the docu-reality also adapted in Chile, or fictions like ‘Los Exitosos Pells’, originally developed in Argentina and then adapted in different territories within and outside Latin America, are some of these examples. There are also other examples of the company’s work with networks, as is the case

“When it comes to format adaptation, networks must leverage between exploiting a brand and the risks that brand entails. High costs and the development of complex promotion strategies go handin-hand with format adaptation”.

of ‘Cuestión de Peso,’ which is still achieving 30% share well into its sixth season. A NEW BUSINESS ENGINEERING. When it comes to format adaptation, networks must leverage between exploiting a brand and the risks that brand entails. High costs and the development of complex promotion strategies go hand-in-hand with format adaptation. In this context, only the continent’s big markets seemed capable of absorbing the production costs implied by this business model.

The result of this experience was the construction of a residential area where the series was shot. The set, therefore, comprised a total area of 45,000 m2, with houses which accommodated the 123 actors and almost 1,800 extras who participated in the first version of the format in Argentina. Subsequent versions were also made for Colombia, Brazil and the US Hispanic market. This adaptation managed to exist because the different networks which aired each local version shared all the costs. These were Channel 13 in Argentina, Rede TV! in Brazil, RCN in Colombia, TeleAmazonas in Ecuador and Univision in the US Hispanic market.

A Corazón Abierto

Amas de Casa Desesperadas

‘A Corazón Abierto’ is an adaptation of ABC’s hit series ‘Grey’s Anatomy’. Consisting of 140 high definition episodes, the series is a Disney Media Networks Latin America (DMNLA) production, made by Vista Production for RCN Colombia. University Hospital Santa María was built in a 1,600 square meter area, including 40 sets where patient rooms, trauma rooms, emergency rooms, break rooms and even high-tech surgery rooms were put together after lengthy research on hospitals. The entire set brings together over 100 production and filming teams. Apart from its regular TV crew, the production also counts with special effects groups, physicians, surgeons, specialists in different areas, nurses and hospital support staff. Thus, the steady cast, made up of 13 leading actors and actresses plus guest stars making appearances every episode, receives constant support on and off set, so as to create an environment that feels like an actual, highbudget University Hospital.

‘Amas de Casa Desesperadas’ (‘Desperate Housewives’) is one of the most outstanding and ambitious projects ever made in Latin American television. This is a version of American series ‘Desperate Housewives’ produced by Disney Media Networks Latin America (DMNLA), in the form of an innovative and monumental joint production, carried out simultaneously for four Latin American countries, plus the U.S.’s Hispanic market. This project is part of a trend adopted by world television since the beginning of the decade, primarily related to satisfy viewers’ taste and cultural traditions. In a globalized world, ideas are flexible and adaptable to different cultural conditions. ‘Amas de Casa Desperadas’ introduces local versions of a product that has shined on TV screens in the U.S. and the world, dealing with feelings, emotions and concepts that allow moving beyond time and regional conditions. The street where the housewives live their desperation is called Manzanares, a mega shooting set of 45,000 m² with poplars, eucalyptuses and ash trees, where ten full-size houses were especially built for the series in a 5 hectare area, located in the neighborhood of Pilar, on the outskirts of Buenos Aires, Argentina. Along with the houses comes an entire technical infrastructure, which includes a shooting set with cameras, lights, dressing rooms, etc. Versions for Argentina, Colombia, Ecuador, Brazil, and Hispanic U.S., were shot in this set.

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This wasn’t the only time that Disney Media Networks Latin America (DMNLA) successfully coordinated different interests revolving around the same production. This was the case of ‘A Corazón Abierto,’ a local version in Colombia and Mexico of ‘Grey’s Anatomy’ supervised by successful scriptwriter Fernando Gaitán (author of ‘Yo Soy Betty, la Fea’ and of ‘Café con Aroma de Mujer’) as well as the world-famous ‘Who Wants to Be a Millionaire?’ for Azteca 7 in México or ‘The Amazing Race’ for pay TV channel Space, with panregional reach.

DISNEY MEDIA NETWORKS LATIN AMERICA

It is here where one of the best examples of financial creativity between big groups and independent production companies come into play. The case in point is the adaptation of the widely-known series ‘Desperate Housewives,’ a project which reached global dimensions featuring Disney Media Networks Latin America and Argentine production company Pol-ka.

TTVProduction report

Leonardo Aranguibel, production director at DMNLA, was a key professional in all of these projects’ development and his experience will undoubtedly contribute to the discussion.

“One of the challenges for production company RTI Producciones, based in Colombia with offices in Miami, was to find new markets outside the local territory, where the continent’s number one genre had obtained excellent results”.

TELENOVELAS WITH AN INTERNATIONAL TOUCH. One of the challenges for production company RTI Producciones, based in Colombia with offices in Miami, was to find new markets outside the local territory, where the continent’s number one genre had obtained excellent results. The first step was to form an alliance with three main players: the production house, the broadcaster and the distribution arm which, in this case, were RTI, network Telemundo and the former Tepuy, known today as Telemundo Internacional.

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BOSSA NOVA FILMS

With 53 telenovelas and over 7,000 hours produced for network Telemundo, Producciones RTI (led by Patricio Wills, former owner of Telemundo Studios) stands out as an unavoidable reference when it comes to considering the position of an independent production company within the global market.

Across The Amazon

Tropicália

‘Across The Amazon’: A TV series produced for the National Geographic Channel. From one side of South America to the other, in 70 days. The adventure was captured in the documentary ‘Across the Amazon’, a production carried out through a partnership between the National Geographic Channel (Natgeo international division); the Brazilian edition of the National Geographic Magazine; Toyota; the production company (BN) and the Advertizing Agency (Dentsu). The expedition generated several products: 6 episodes of 52 minutes shown in the National Geographic Channel to 130 countries; 6 pills of 2 minutes for the internet; one blog; and a contest that awarded the two winners a participation in the last 700km of the way. The crew of 6 people of ‘Across the Amazon’ travelled through more than 35 cities and crossed seven Brazilian states until Peru, inside a Toyota Hilux, facing all kinds of terrain difficulties, discovering new paths and facing the surprises of the wild environment. The objective was to show the plant and animal diversity, as well as the environmental problems encountered along the way.

‘Tropicália’ intends to bring a contemporary vision to this important cultural movement, which exploded in Brazil in the late 1960s. It mixes valuable archive material especially recovered for the production and encounters with the icons of the movement, such as Caetano Veloso, Gilberto Gil, Mutantes and Tom Zé. ‘Tropicália’ is a documentary produced by BossaNovaFilms with a coproduction with the British production company Revolution Films and the American company Mojo. Brazil, throughout its history, has demonstrated being a country that fosters the best of its culture and absorbs the best that other countries have to offer. An example of this would be the “Tropicalista” movement that is as current today as it was in the late 60´s and 1970.

According to Patricio Wills, there are plenty of examples of global players coming together with local markets. The list of examples could include the co-production agreement between Sony Pictures Television International, network Telemundo and production company RTI to produce ‘El Zorro’, or the world-famous ‘Hidden Passion’, or ‘The Clone’, a result of a co-production deal with Telemundo and Brazilian network Globo, or even the latest ‘The Queen of the South’, an adaptation from the Spanish best-selling book by Arturo Pérez-Reverte, where Wills also served as executive producer. All these show the ability to produce from and to the international market, as well as to identify and secure strategic partners for the development of a project. “I think ‘The Queen of the South’ became a milestone in my professional career,” Wills said in dialogue with ttv not long ago. Yet he added that “my goal from now on is to take the company to other levels of international production.” A solid position in the global market is reached with great

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knowledge of the telenovela genre combined with a correct outlook on risk. “We think that being, for example, creative or unique is about taking risks. That is to say, when you take too

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PRODUCCIONES RTI

many risks then you ask the audience for too much trust and time before they get to understand or believe in the story that you want to show them. But on the other hand, when you take only a few risks, then you will have a story that is easy to take in but a plot without any surprises. We take the road right in the middle, leaning toward high risks, which have driven us into producing hits like ‘El Zorro’, ‘Hidden Passion’, ‘The Clone’ or ‘The Queen of the South’,” he said.

La Reina del Sur

El Clon

‘La Reina del Sur’ (‘The Queen of the South’) spans 12 years across three continents and weaves the story of the legendary character Teresa Mendoza. The story follows Teresa, whose drug smuggling lover has given her a special cell phone. He warned her that if that phone ever rung it will mean he would have been killed and she would be the next target. The dreaded call eventually comes, sending her on a journey that takes her to Spain and through a series of life changing events. She moves to Melilla, a Spanish enclave in the North of Africa, and becomes the girlfriend of another handsome drug runner who teaches her all about boats, navigation and survival on the Straits of Gibraltar. She ends up in a Spanish prison, where her wealthy cellmate turns her into an elegant and educated woman. After her release, she partners up with the Russian mafia and takes the reign of a drug trafficking empire.

‘El Clon’ (‘The Clone’) is the story of a unique and powerful love that is capable of overcoming the barriers of time and distance, because this is how it was meant to be. It is the tale of a love that was born when Lucas fell in love at first sight with Jade in Morocco. But the strict Muslim traditions, which are strongly defended by Jade’s uncle, Alí, will make it impossible for them to be together. Lucas returns to Miami after the death of his twin brother Diego. A close family friend, scientist Albieri uses this situation to produce the first human clone, using cells taken from Lucas. Twenty years later, Jade, Lucas and his clone form an odd love triangle.

“In Brazil, where telenovelas take up the largest share of broadcast TV’s primetime, there is more room to create and develop new projects in pay TV, as well as on emerging digital platforms”.

BRANDED CONTENT. In Brazil, where telenovelas take up the largest share of broadcast TV’s primetime, there is more room to create and develop new projects in pay TV, as well as on emerging digital platforms. This area, which rises as the new El Dorado of Latin America, has a vast experience in the ad and film sectors, in addition to the expertise gained by studios like Projac (Globo), which stand out as Latin American giants. In this landscape independent production company Bossa Nova Films has made its way into the winding road of the country’s advertising, film and TV industries.

This production company has a solid connection with the international market both in broadcast and pay TV and is also very strong in digital media, “thanks to the interaction among the different areas inside our production house,” Denise Gomes, partner and director of the company, said. “We were able to offer smart solutions at competitive costs for clients like Nokia, Samsung, Ford Ecosport and others,” Gomes said talking about one of the business areas with largest growth potential, ‘branded content’. One of the most significant examples in that field is ‘Across The Amazon’, a docu-reality that follows a truck along the Amazon river. The results of this huge co-production between National Geographic, Toyota, Bossa Nova Films and Channel Azul were six 25-minute episodes that aired on NatGeo across 130 countries, in addition to a two-competitor race over the last 700 kilometers of the expedition. The production company has already developed several other examples along that line, including TV shows ‘Ecosport’ and ‘Feito No Brasil’. ttv

TTVProduction news Latin America/EMEA

Disney Channel Presents Original Co-production DISNEY CHANNEL LATIN AMERICA AND DISNEY CHANNELS EUROPE, MIDDLE EAST AND AFRICA (EMEA) have joined forces for the first time to coproduce an original series. In collaboration with Argentine production company Polka, Disney Channel has started to work on the production of ‘Violetta’, which is expected to launch in 2012. Entirely shot in Latin America, ‘Violetta’ follows the story of a talented teenager that after living many years in Europe, comes back to his home town, Buenos Aires. The series, which combines drama, comedy and romance, stars an international cast from Argentina, Mexico, Brazil, Spain and Italy. Cecilia Mendonça, general manager of Disney Channels Latin America, referred to the importance of this project:, which “is the first time that Disney Channel Latin America coproduces with other Disney Channels from other parts of the world,” she said. “We went a little bit further this time: we developed an original production for two diﬀerent audiences, the Latin American and the European audience, hoping that they will be able to relate emotionally with both of them featuring local elements, which audiences will recognize, as well as a cast that will represent both regions.”

LatAm

Caracol TV, SPT Sign Co-production Deal FOR A THREE-YEAR TERM, CARACOL TELEVISIÓN AND SONY PICTURES TELEVISION (SPT) will co-produce primetime series for the Colombian channel. As stated in the recently signed deal, both companies will produce two annual series and Caracol will produce local versions of SPT’s formats. The series’ international distribution business will be shared between the two companies. The announcement was made by Carlos Alejandro PérezDávila, president of Caracol Televisión, and Donna Cunningham, SPT general director and EVP of production for Latin America and the US Hispanic market. The executives said that this alliance is based on the successful relationship between the two companies, seeking to combine their expertise in producing high-quality Spanish-speaking telenovelas and series with their experience in international distribution. “As one of the largest producers in Latin America, we are committed to the development of high-quality programming that attracts a wide variety of audiences,” Cunningham said. “Latin America has a rich history in producing powerful dramas and we are hoping to take advantage of the incredibly talented team that this region has to offer.” “We are confident that together we will be able to produce the kind of innovative programming that will entertain and delight the natural target audience in our region, as well as new audiences that we want to reach around the world,” Pérez-Dávila said. Angélica Guerra, international VP of Caracol, also highlighted the advantages of having an international partner: “This agreement will allow us to produce world-class content combining the talent, resources and experience of two of the largest entertainment groups in Latin America.”

Chile

PRÓFUGOS: A CHILEAN SERIES WITH HBO’S SIGNATURE THE PROJECT THAT WAS BORN IN 2006, when Pablo Larraín presented his idea at a pitching session to some HBO producers, is only days away from reaching the public eye. On Sunday, September 4, HBO Latin America’s original series ‘Prófugos’ made its TV debut. Written by Pablo Illanes (‘Where is Elisa?’), Josefina Fernández, Mateo Iribarren and Enrique Videla, under the general direction of Pablo Larraín (‘Fuga’ and ‘Tony Manero’), the series was entirely made in Chile by Efetres / Fábula, a joint-venture specially formed for this project between production companies Efetres (owned by actor Cristián de la Fuente and his partner Rodrigo Flores) and Fábula (owned by Pablo Larraín). “It is a road series about four guys who, after their business screws up, are forced to be runaways,” Luis Peraza, executive producer of the HBO Latin America original production, told ttv. The six-month shooting included several outdoor scenes across different locations in Chile, including the breathtaking landscapes of Iquique, Valparaíso, Santiago, Farellones, Puerto Montt and other cities. “Chile has enough talent in front and behind the camera,” Peraza said.

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THE LATIN TOUCH: LATEST ORIGINAL PRODUCTIONS FROM LATIN AMERICA WHY ARE LATIN AMERICAN TV SHOWS GROWING IN POPULARITY WITH GLOBAL AUDIENCES? DISCOVER NEW BUSINESS MODELS, ORIGINAL PRODUCIONS AND ADAPTATIONS AND SEE SOME OF THE BEST EXAMPLES OF PRODUCTIONS FROM ACROSS LATIN AMERICA AND THE PRODUCERS BEHIND THEM. WEDNESDAY, 5th October 2011 from 2:00 PM to 3:00PM Auditorium A, Level 3, Palais des Festivals Cannes, France.

LEONARDO ARANGUIBEL, Production Director Disney Media Networks Latin America

Director, Executive Producer and Scriptwriter. Graduated in Journalism at Universidad Central de Venezuela -UCV- with studies in Cinema-TV Direction and Script-writing at London International Film School, England. Currently Production Director for Disney Media Networks LatAm since 2005. TV Director, 2004, for NBC-Telemundo. From 1995 to 2001 served as Vice-president of Original Production and Manager for HBO and Cinemax Latin America and Brazil. Professor at the Cinematography Department of Fine Arts School, UCV, from 1993 to 1998. He has received several awards and recognitions during his career, including Silver World Medal at the 2001 New York Festivals TV & Film/Video Awards; Gold and Bronze World Medal and two Finalist Awards at the 2000 edition of the same festival; Bronze World Medal in 1999; and one Finalist Award at the 1998 edition. He’s been Jury member of the 2003 and 2009 editions of the International Emmy Awards and member of the International Jury of Festival Internacional de Cinema Ambiental de Gavá-2000 in Barcelona, Spain, and member of the jury of the Premio de Cine del Ayuntamiento de Caracas 1998, in Caracas, Venezuela.

About Disney Media Networks Latin America Disney Media Networks is The Walt Disney Company’s international TV content distribution division. Disney Media Networks licenses over 30,000 hours of programming to over 1,300 channels in 240 territories around the world. It is the distributor of the Walt Disney Pictures, Touchstone Pictures, Miramax Films and Patagonik movie portfolios, as well as TV series, miniseries and TV movies; kids’ programs with the Disney brand; ABC Daytime and ABC News programming and The Academy Awards. Its content is distributed for five different television platforms: Video on Demand, Pay-Per-View, Pay Premium, Basic Cable and Free TV. From its offices in Miami and Buenos Aires, Disney Media Networks Latin America is responsible for the Latin American broadcast and pay TV business, including distribution, production and content development.

MODERATED BY RODRIGO ROS, Editor-in-Chief of TODOTV MEDIA Rodrigo Ros is Editor-in-Chief at TodoTVMedia. Founded in 2004, the company publishes the TTV and TodoTV trade magazines -among others- which focus on the Latin American/US and European Hispanic audiovisual markets. He is in charge of editing and generating the daily todotvnews and weekly ttvmedianews editions. With over 10 years of experience in trade publications, Rodrigo Ros also holds a Masters degree in Culture and Communications issued by the Paris 8 University in France, where he lived during the last five years.

She is partner and executive producer in the entertainment and branded content area of BossaNovaFilms. Her career has been consolidated for over twenty years in the advertising and content production. Her recent productions include series for television, web and feature films. Among the TV series, a highlight for ‘Across the Amazon’, produced for NatGeo, ‘Harmonize’, a branded tv series produced for GNT (TV Globo) and AMBEV. For the web, she has carried out projects for Nokia, Seda and Johnson&Johnson. Among the feature films a highlight for ‘The Samba Within Me’, ‘Tropicália’ and the co-production ‘Violeta Se Fue a Los Cielos’ (feature and tv mini-series).

About Bossa Nova Films

DENISE GOMES, Director of Bossa Nova Films

The company develops projects in advertising, entertainment, branded content and digital, offering complete material and technological infrastructure, including their own postproduction and 3D services provided by BossaNova3D. Besides headquarters in São Paulo, there are other production bases in Latin America: Argentina, Chile, Mexico, Uruguay and Venezuela, providing the interested clients with more options to carry out their full production and production service projects.

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BossaNovaFilms is one of the largest production company in Brazil with expertise in audiovisual content for all media platforms in local and international markets.

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Martín is one of the most experienced producers in Argentina with more than 23 years of experience in the media and more than 500 TV programs produced in a decade, including many of the world´s most succesful formats such as the best-selling Wipeout and Fear Factor which have already been produced in Argentina for more than 30 different countries, the succesful non-scripted formats The Diet Club, All or Nothing, The Last Passenger and XXS, and incredible scripted series such as The Succesfull Mr and Mrs Pells and NINI. Martín started his career directing several production companies. In 1997 he founded “Producciones y Publicidad” which was acquired in 2000 by Endemol Entertainment. Under Martín’s direction Endemol Argentina has been increasing its presence in the four terrestrial channels, combining local and international formats. He has a degree in Economics from the University of Buenos Aires.

About Endemol Argentina

MARTIN KWELLER, Creative & Operations Director of Endemol LatAm, Chairman of Endemol Argentina

Endemol Argentina is a company with more than 11 years of television production in Argentina -with an annual average of more than 500 hours of own production in the four terrestrial channels- and the biggest international Production Hub in Latin America. Over 30 countries have chosen Endemol Argentina over the past five years, having produced over 2,000 hours of international productions for the most important networks worldwide. Four full HD television studios in Buenos Aires City, an international Production Hub of 30 acres, 400 employèes and the best production and post-production equipments, complete the basis that make Endemol Argentina the most important and largest independent television producer in Argentina.

Since 1978, Mr. Wills has been involved in the production of over 35 telenovelas, multiple game shows, reality programs, and documentaries. He has collaborated, in the development of tv shows along many of Latin America’s most important writers (Mr. Gabriel Garcia Marquez, Mr. Mario Vargas Llosa, Mr. Juan Rulfo, Mr. Mario Benedetti and Mr Julio Cortazar, among others). Mr. Wills led the international distribution efforts of RTI, which resulted in coproduction and distribution agreements with companies such as Disney, Discovery, Globo, Sony, Telemundo and Televisa. Mr. Wills developed and serves as President of what today is Colombia’s largest independent TV production facility; Producciones RTI.

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About Producciones RTI With more than 45 years in the market, RTI has produced over 8,500 hours of telenovelas, 1,228 hours of series, 264 hours of comedy, 487 hours of contest shows, 358 hours of sports, 216 hours of reality shows and 2,493 hours of musicals and documentaries, among others. Speaking about RTI is speaking about the history of television in Colombia and the future of audiovisual content production in Latin America. Today, RTI is the main programmer of Canal Uno in Colombia and has production and development offices in both Colombia and the US. With five studios in a 4,000 m2 lot, four HD mobile units and all kinds of cutting-edge cameras, Producciones RTI possesses the largest infrastructure for independent production in Colombia. Despite being independent, Producciones RTI has managed to develop mega productions shot in the US, Mexico and Morocco, among others, positioning itself as the favorite production house for authors who’d like to see their work taken to the screen. This has been the case of Gabriel Garcia Marquez, Mario Vargas Llosa, Mario Benedetti and Juan Rulfo, among others. Likewise, great companies like Sony, Endemol, Telemundo and Globo have found in RTI a production ally. This is why RTI has become the main producer behind several milestones in Hispanic television such as ‘El Zorro’, ‘The Clone’, ‘Big Brother’, ‘Hidden Passion’ and ‘The Queen of the South’, among many others.

PATRICIO WILLS, President of Producciones RTI

TTVProduction report Argentina

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of Audiovisual Production With its rich television production history, the Argentine market experienced a paradigm shift that introduced a new way of thinking and making TV.

paradigm shift shook Argentine TV in the 1990s, with three men standing out as prime movers of a new professional aesthetic that forever altered the way of conceiving and developing local production: Adrian Suar, Mario Pergolini and Marcelo Tinelli. New interpretations of reality made their way into the arena and production schemes were substituted with small working structures led by these young innovators who took charge

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of a complex and vertiginous process within TV. They all gave birth to media empires that are still thriving today: Pol-Ka Producciones (Adrian Suar), Cuatro Cabezas (Mario Pergolini) and Ideas del Sur (Marcelo Tinelli). It is during this decade that independent production gained considerable experience through iconic programs such as ‘Poliladron, Una Historia de Amor’ (Pol-Ka, 1995, on Channel 13), ‘Caiga Quien Caiga’ (‘CQC’, Cuatro Cabezas, 1995, by América TV) and ‘Video Match’ (Ideas del Sur, 1989, on Telefe).

The years following the crisis of 2001 showed a sustained macroeconomic recovery in the country. The country’s exchange rate policy complemented Argentina’s economic course, keeping the national currency at a third of the dollar and favoring local production. This had outstanding repercussions as the TV sector renewed itself, some even focusing their efforts on exporting fiction formats and content which, of course, pumped up fierce internal competition. Ever since then, traditional stories have emerged as mass entertainment products and their talent, local technical skills and conveniently reduced costs when compared to the global market, caught everyone’s attention. These and other factors combined have positioned Argentina as a highly competitive production market and as an attractive market for foreign investment in terms of co-production and production services, evidenced by the sheer number of global players that have recently decided to land in the country: Dori Media Group, Endemol, Disney Media Networks, FremantleMedia, MTV Networks, Televisa, Sony Pictures Television, Discovery Networks and Cookie Jar, among others. A MARKET X-RAY. Argentina houses 40 million people and is one of the three largest markets in Latin America, along with Brazil and Mexico. According to an official report made by Argentina’s Advertising Agency Association (AAAP), these three nations comprise 80% of the continent’s overall advertising investment. The Argentine market presented a “slight recovery in advertising activity volume in regard to the downward trends that plagued previous years,” especially in 2008. Total ad spending in Argentina grew by almost 17%, bringing totals for 2009 to US$2.3 billion, very close to 1998’s record highs. As for TV, the ad “pie” reached US$977 million, 18.6% more than in 2008 and becoming 41.7% of total ad spending. If we slice the “pie” up, US$771 million went to broadcast TV (growing 12.2%) and US$207 million were destined for cable TV, representing a whopping growth rate of 50.2%. Despite this increase, local industry executives feel that the advertising sector is stagnating and falling. “Overall ad spending in dollars needs to increase at least 50%,” said Mariano Chihade, director of Mandarina Productora. However, these economic factors must be considered along with the proliferation of production companies in the market, greatly

increasing its competitiveness and almost saturating local industry. As José Luis Massa, CEO of Illusion Studios -one of the largest animation producers in the region- rightly told ttv, “this company could not live if it depended on the local market.”

we’ve been applying since last year is to develop content that’s clearly related to eventual advertisers. That is, we create and produce ideas which from an artistic point of view can be adapted to the needs of channels and advertisers,” he added.

“In this present economic context, broadcast TV is largely favored,” Martín Rodríguez Denegri, artistic director of Mandarina Productora, told ttv. “I think that a door has

In turn, Mariano Elizondo, general manager of production company Ideas del Sur, underlined that “our experience tells us that business may be done by thinking of both the local and international markets at the same time. In this way, income may come from both sales to local channels and those to large pay TV or broadcast TV networks from other countries.”

Martin Rodriguez Denegri Art Director of Mandarina

“The engineering we’ve been applying since last year is to develop content that’s clearly related to eventual advertisers.”

Mariano Elizondo General Manager of Ideas del Sur

“Our experience tells us that business may be done by thinking of both the local and international markets at the same time.”

once again been opened for big productions to be watched on the screen.”Yet profitability is still held at a high standard. “The engineering

Ideas del Sur is one of the most active production companies in broadcast TV. It already produces 130 hours a week and is now facing new challenges. “This year Channel 13, an ARTEAR channel, started airing all of its programming in HD and we have invested quite a bit to work with cutting-edge technology. We also have our own studios, a large entertainment production team and a design team that’s constantly working on local programming needs and generating ideas for the international market,” Elizondo added.

Argentina’s broadcast TV sector is well defined: Telefe (Channel 11, Telefonica Group), Artear (Channel 13, Grupo Clarín) and Canal 9 (Alba

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moved our offices to a place with three digital television studios and over 20 edition booths (…), and we have already developed several formats both for the local and international market. We are currently developing two reality shows for the region.” Alex Lagomarsino, who represents Pol-ka’s international businesses outside Argentina, underlined that “Latin America is its own market because all countries share the same language and, even though each country has its own idiosyncrasy, we may consider its programming as homogeneous to a certain extent.” However, Lagomarsino, one of the people responsible for negotiations between Disney and Pol-ka for the adaptation of ‘Desperate Housewives’, highlighted that it’s important to consider what association model works best. “There are co-productions, involving several partners such as a broadcast TV channel, a distributor and/or a producer, where all of them share costs. The other model is where each one contributes depending on the potencial benefit.”

Communications Group) control most ratings, while the rest of the audience is divided between America TV and Channel 7-ATC, the country’s state channel with nationwide coverage. In regard to content, the structure is as follows: Pol-Ka Producciones and Ideas del Sur fill up Channel 13’s grid while Telefe is selfsufficient through its own in-house production company, despite also incorporating productions from Eyeworks/Cuatro Cabezas, Endemol Argentina, Farfán and others.

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But Argentina’s television spectrum does not end there. There are 23 independent production companies associated to Argentina’s Independent Television Producers Association (CAPIT), which gathers more than 3,000 industry professionals.

In this line, Telefe´s international distribution area is a good example of how to correctly most Argentine independent production exploit new businesses. “At MIPCOM we will companies is the conquest of new markets at present a new division in charge of creating an international level. According to Gonzalo and developing fiction and entertainment Cilley, at the helm of Resonant TV, the search content. This new division will let us develop new projects beyond those that are eventually aired on Telefe’s screen,” said Michelle Wasserman, Michelle Wasserman head of international business, Distribution, Formats and Production formats and production services Services Manager for Telefe International at Telefe International.

“Argentina is no longer that competitive in regard to production costs as it was a few years ago. Now we must aim at quality and at forming partnerships with other international players.”

Sebastián Darcyl CEO of Dharma Films

“Many of the formats which have been produced in Argentina have been reproduced worldwide both as formats and taped products.”

Sebastian Darcyl, CEO of Dharma Films, underlined that Argentina’s added value is in its productions’ quality. “Many of the formats which have been produced in Argentina have been reproduced worldwide both as formats and taped products,” he said. However, Darcyl did need to add that “in Argentina, both for entertainment and fiction, work for independent producers is complicated because available slots on grids are scarce.” PRODUCING FOR THE INTERNATIONAL MARKET. One of the challenges faced by

and identification of possible target markets “depends a lot on each one of these. And the focus when presenting a project to a TV channel must be on the content instead of business engineering. It must be original, relevant, international and producible.” Many times an opportunity also depends on how large the investment is. This is the case of production company Mandarina. Rodríguez Denegri explained in this sense that “we have

The new division will develop new projects or co-productions with partners, looking to obtain new benefits at an international level. “For instance, we’re taking five fiction and four entertainment format developments to this edition of MIPCOM. One of the formats already has its own pilot,” Wasserman added.

Telefe’s international business, according to Wasserman, can be divided into two kinds of partnerships. “On the one hand the idea is to go into partnerships with other networks or production companies to develop new fictions and, on the other, to partner with major players for format distribution,” she said. This search for new business opportunities is explained, Wasserman added, by the fact that “Argentina is no longer that competitive in regard to production costs as it was a few years ago. Now we must aim at quality and at forming partnerships with other international players.”

TTVProduction report

A SHY BUT PROMISING LAW. One of the greatest shortcomings of the Argentine production market -the absence of government incentives for the sector- started to fade during the second quarter of 2010, when the Government of Buenos Aires announced that it would promote the creation of an Audiovisual Pole looking to increase Argentine content exports. When at the end of 2009 the Format Recognition and Protection Association’s (FRAPA’s - an organization gathering over 100 producers, distributors and broadcasters) second biannual report analyzed the eleven most influential territories of the sector, Argentina came out as the fourth country in terms of format exports worldwide.

Today, Argentina’s cultural industry is growing with even greater dynamism according to official reports, actually making the country’s GDP grow 17.2% during 2008. This number is very close to those recorded in countries such as Spain or France and places Argentina at the number one spot in South America, followed by Uruguay. The sector currently moves US$1.5 billion in Argentina and is Alex Lagomarsino International Business Executive of Pol-ka

production companies with are currently based in Capital Federal. The bill providing the pole’s creation was finally enacted in September 2011. The new law will offer tax reductions worth 1% of gross income for companies with revenues over US$15 million and complete exemptions for companies that don’t reach that amount in revenue. It will also exempt foreign companies settling into the audiovisual district from paying the ABL tax (for lighting, sweeping and cleaning) for 10 years. Domestic companies will also enjoy this benefit for 15 years.

“Even even though each [Latin American] country has its own idiosyncrasy, we may consider [the continent’s] programming as homogeneous to a certain extent.”

Argentina’s cultural industry, which encompasses book, film, Gonzalo Cilley music and television program CEO of Resonant TV production, among other activities, managed to become “The focus when presenting a a US$10 billion industry in 2008, project to a TV channel must be 3.27% of the country’s GDP. This on the content instead of business sustained growth is supported, engineering. It must be original, according to the Government itself, relevant, international and on new businesses associated producible.” to technology, with television production being another of the main culprits. The marked growth of format sales for local adaptations was the now being supported by the Government main driver of this growth, at least according to of Buenos Aires with its Audiovisual Pole what Francisco Cabrera, minister of Economic initiative. Encouraging production companies Development of the city of Buenos Aires, with tax exemptions, the Audiovisual Pole will concentrate the activity of over 400 declared back then.

If everything goes according to the plan, the Pole should be finished before 2020 and would include 550 companies. The project will first give priority to television and advertising producers. Underground, PolKa Producciones, Patagonik, Pioneer, Cámaras y Luces, Pampa Film, Film Suez and Endemol have already confirmed their support to the project. The Pole will have an Audiovisual Metropolitan Center with studios for shooting and screening content that will cost U$S30 million. The premises will also include the offices of the BASET (Buenos Aires’ Shooting Sets) and the BACF (Buenos Aires Film Commission), two official organizations in charge of promoting the city of Buenos Aires as an ideal setting for audiovisual productions. ttv

TTVProduction report Brazil

Independently

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Made in Brazil Brazil, practically a separate continent in itself, is for many a rock in the world’s economy and today’s land of big opportunities. Yet it also holds a place in the ad spending hall of fame and is the fastest-growing market of recent years. Here, independent production houses are making great progress, entering a new fertile stage: television production.

his country also has the most dissimilar production models in regard to broadcast TV and pay TV. While broadcast TV channels usually produce 90% of their content in-house using their own facilities, pay TV has nurtured great exponents of the country’s cinematographic and

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independent production. These companies have, thanks to pay TV, been able to develop large productions that are now travelling the world. This country occupies 47% of South America and is home to 190 million inhabitants, making it the fifth most-populated and largest country in the world. It also holds more than 41.5 million internet users. With pay TV enjoying an annual growth rate of 30%, many local production companies are developing new business areas, driven by the development of new platforms. Eliana Russi, executive manager of the Brazilian TV Producers (BTVP) program, told ttv that “TV has a territorial penetration of 98%; internet use here is the highest in Latin America and the Brazilian government sees

technology as the main tool to raise the international audiences. Rede Globo, owned country’s education levels. Besides, Brazil by business group Organizações Globo, is has a multicultural democratic society and the fourth largest media conglomerate in in the last ten years incentives from the the world and the fourth largest TV channel government amounted to US$700 million for worldwide, following US networks ABC, CBS the sector.” This is crucial point in a country and NBC. The Central Globo de Produção where audiovisual regulations have favored (known as Projac) is located in Rio de Janeiro production projects for pay TV at a local level. and works as a sample of the group’s potential “In the last decade we have noticed a process productions: it is the largest production of substantial maturity within independent complex in Latin America and extends over audiovisual production in Brazil,” said Arlette 1,650 km2. It includes three studio-cities, Siaretta, president and owner of the Casablanca group, undoubtedly one of the largest DenisE Gomes independent production holdings Director of Bossa Nova in Latin America. “This progress Films is, first of all, due to government “Over the last years, especially incentives such as tax exemptions in Brazil, the number of new that favor production spending. projects has significantly Secondly, the growing demand for grown thanks to government original and regionalized content funding.” which strengthens independent production, since the number of independent production companies has also grown in Delmar Andrade Brazil.” Director of International Sales of Record TV Network Pay TV has grown exponentially, “The possibility of reaching increasing its overall subscriber more demanding markets lies base 15% annually since 2003, in the search for new models reaching an approximate 8.2 and in the use of the latest million households (about 27 technology.” million viewers), according to figures gathered by the Agência Nacional de Telecomunicações (Anatel). 10 production studios, 32 mobile units and AD SPENDING. Ad spending data varies employs 8,000 people. There, 2,500 hours of depending on the source. However, Brazil is an content are produced every year. unquestionable benchmark when analyzing the world’s largest markets. Whether it’s the “Latin America is in a moment of great US$12 billion reported by the Inter-Meios growth,” said Guilherme Bokel, international project (a service concentrating over 350 co-production director at TV Globo. “TV Globo, communication media and groups) or the US$4 billion IBOPE reports, the truth is that the country’s ad market shows significant growth year after year. This growth is no surprise considering the great economic moment that the country and the region are going through and the skyrocketing increase in purchasing power registered during the last five years. ORIGINAL PRODUCTION. The audiovisual content production sector of Brazil, just like Mexico and unlike the rest of the countries of Latin America, is marked by the leadership of its big broadcast TV channels, present in the country since the 1960s. These channels are incredibly capable of supplying their own grids with 100% original content, produced in their own production city-studios which are real content factories. Ever since 1965 and based on a self-sufficient production model, Globo has remained the undisputed leader of Brazil’s broadcast TV. The company has also become a reference when it comes to content generation for

leader in audience, quality and creativity as well as in production investment in Brazil, is today the fourth largest television network in the world and certainly the largest in terms of its own production. This market is growing well over universal averages for some years now and is now attracting foreign countries’ interest.” One of Globo’s strongest competitors in terms of production capacity and volume is Rede Record. This company is most definitely a market pioneer, starting its broadcasts back in 1953 under the name of TV Record and becoming Brazil’s second broadcasting station ever after TV Tupi. TV Record currently ranks second when it comes to ratings with a lineup that has featured telenovelas such as ‘Prova de Amor’, ‘Bela, a Feia’ (‘Ugly Bela’) and ‘Another Power’ (‘Poder Paralelo’), as well as series like ‘The Law and the Crime’ (‘A Lei e o Crime’) and ‘Esther, the Queen’ (‘La Historia de Ester’). Its original production strategy is led by RecNov, the station’s production complex that launched in 2005 in Vargem Grande, Rio de Janeiro. RecNov is the second-largest production complex in Latin America with a whopping 208,000 m2 in size. Delmar Andrade, head of international sales at Record TV Network, said that Latin America has been traditionally respected for its creativity, scripts and the production quality of its telenovelas and formats. “The possibility of reaching more demanding markets lies in

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the search for new models and in the use of the latest technology,” he told ttv.

and ‘Zero Bala’ with Bandeirantes, among others).

Andrade highlighted the miniseries ‘Samson and Delilah’ as an example. “In this miniseries many efforts were made in terms of stage design and wardrobe, resulting in local and international approval,” he said.

Following this model, Casablanca -one of the most important independent production companies of the region- stands out, holding agreements with Rede Record to produce, for instance, seasons of the ‘The Apprentice’

Three channels complete the top five stations fighting over the TV market in Brazil. SBT, managed by Silvio Santos, owns the Anhanguera complex located in San Paulo. This complex includes eight studios in a 231,000 m2 area. Rede Bandeirantes, presided by Johnny Saad -son of its founder, João Saad- is, according to local media, now investing US$8 million to expand its production studios. The fifth player is Rede TV!, created in 1999 to replace the old Rede Manchete. Rede TV! holds its Centro de Televisão Digital (CDT) in Sao Paulo, which has been recently renovated and owns seven completely digital studios in a 36,000 m2 area.

In turn, Denise Gomes -executive producer of BossaNovaFilms- said that despite having a very strong telenovela culture, Brazilian grids are now airing new series in the 10:00 PM timeslot. Examples include ‘Mulher Invisível’ (a production Guilherme Bokel by independent production Director of International company Conspiração Filmes), Coproduction of TV Globo ‘Tapas e Beijos’ and ‘A Grande Família’ on Rede Globo. “TV Globo is today the fourth largest

television network in the world and certainly the largest in terms of its own production. [The Brazilian] market is now attracting foreign countries’ interest.” Arlette Siaretta President and Owner of Casablanca

“In the last decade we have noticed a process of substantial maturity within independent audiovisual production in Brazil.”

These five large media groups fulfill the original production needs of almost all Brazilian broadcast TV, comprised of 478 broadcasting stations and 9,896 rebroadcasting stations. NEW MODELS. Broadcast TV channels’ production and self-sufficiency are definitely important. Yet in recent years pay TV networks -as well as independent production companies, international big groups and broadcast TV’s and big brands’ own need to explore new production routes- have led to new models and the outsourcing of a number of projects.

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Groups such as FremantleMedia, Disney, Endemol, Zodiak or Sony have become more prominent within the Brazilian market. This is the definitely the case of FremantleMedia (‘Price is Right’, ‘Idols’, and ‘The Apprentice’ with Record; ‘Password’, with Rede TV!, among others) and Endemol (‘Big Brother’ with Globo

work on broadcast TV one must first make viewers faithful to a timeslot, particularly late night slots,” Siaretta said.

(‘O Aprendiz’), comedy ‘Louca Família’ and the series ‘Turma do Gueto’, among others. “Brazil lacks weekend fiction and entertainment programs. All weekend shows on broadcast TV are very similar and repetitive. For instance, SBT has Silvio Santos’ program, Globo has Faustão’s program and Record has Gugu’s one. All in the same Sunday afternoon timeslot,” Siaretta said. One of the main difficulties faced by independent production companies is the lack of approval by TV stations for any product that’s not a telenovela. As Siaretta told ttv, any other genre such as miniseries or docurealities are considered to be too short for their grids. Yet these kinds of products always find an audience that’s eager to watch them, such as ‘El Astro’ on Globo. “We had to shoot more episodes of ‘El Astro’ in a hurry. This clearly shows that in order to make content like this

INDEPENDENT PRODUCTION. The Brazilian Association of Independent TV Companies (ABPITV) is one of the organizations supporting the 107 production companies producing audiovisual content for TV channels registered in Brazil.

Of all registered production companies, 42.7% are located in Sao Paulo, 36.9% in Rio de Janeiro, 7.8% in Rio Grande do Sul, 4.9% in Brasilia and the rest are spread out among other states. According to a report carried out by ABPI-TV, over 50% of all registered production companies earn up to US$580,000 in revenues a year; 20% earn between US$580,000 and US$2,900,000 and the other 20% record revenues over US$2,900,000 per year. Of all 103 registered production companies to date, 52 produce documentaries, 27 specialize in animation, 18 in TV movies, six in telenovelas, 33 in TV shows, 12 in series and 29 produce feature and short films. Broadcast TV aside, production companies have three main targets: the advertising industry, pay TV and the foreign market. “The Latin American market has grown a lot in recent years thanks to the creativity of directors and producers. Over the last years, especially in Brazil, the number of new projects has significantly grown thanks to government funding, co-production with broadcast and pay TV players and branded content,” Denise Gomes concluded. ttv

Casablanca: A Global Production Company Considering Casablanca’s huge production and broadcasting capacities as well as its technical and locative infrastructure, it comes as no surprise that 80% of all Brazilian films’ final processing is done there. Among the blockbusters produced by the production company ‘Pelé Eterno,’ ‘O cheiro do Ralo’ and ‘Se eu Fosse Você’ stand out. The production company has also produced projects for Fox, Paramount, Universal Music, Sony/BMG, Disney and Globo Marcas. The company also develops 2D and 3D projects and 70% of all Brazilian commercials in 3D have been post-produced there. Casablanca Online is the leading supplier of satellite broadcasting services in Brazil, covering large events such as the South African 2010 World Cup, the Formula 1 Grand Prix and Rock in Río. Casablanca also has one of the largest RAM memory processing studios in Latin America, giving it huge capacity to screen images in SD and HD. Furthermore, the company is prepared to broadcast HDTV in 2K, 4K and 6K resolutions, necessary for digital cinema. Its Casablanca Content division has been exclusively created to satisfy the needs of the television market, having already produced programs for SBT, Record and Bandeirantes.

TTVProduction report Colombia

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Collywood The neologism might be self-imposed but it is certainly close to reality, especially considering Hollywood has already shot a series for the US market in Colombia. Welcome then to the dream factory’s new appendix.

ts 45 million people make Colombia the third most populous country in Latin America, right after Brazil and Mexico. In recent years, the country has re-allowed foreign capital investments and its rich media sector is now strongly influenced by foreign groups and companies. Two private channels, two public channels, one mixed channel, a private local channel in Bogotá and 50 pay TV operators, eight regional channels and over 41 non-profit channels -including seven university channelscurrently operate in Colombia, covering all of the country’s regions. Additionally, the country is now implementing the European DVB-T DTT standard.

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Broadcast TV audiences in Colombia today are practically divided between its two main private channels, RCN and Caracol TV. These channels account for about 95% of all audiences in Colombia. Meanwhile, state-managed Canal UNO and Canal A are pushing for a clear shift in Colombian preferences. As for advertising, Colombia is among the most important markets in Latin America with a US$3.9 billion industry in 2009, according to data provided by Ibope Colombia. Data from the same consulting company place the country just behind Mexico (US$4 billion) and Brazil (US$13.5 billion). When compared to 2008, its total market grew by 10%, a

more-than-reasonable figure considering the international economic crisis and Colombia’s 2% inflation rate. According to Dago García, author, director and current VP of production at Caracol Television, the country’s growing economy was accompanied by “40% more productions in the last year. Of this percentage, 70% were completely original content and 30% were formats bought abroad and produced locally (especially entertainment formats).” Ad spending was mostly concentrated in TV and radio. Ibope Colombia reported that US$2 billion were spent on TV, split amongst national TV (US$1.7 billion), regional TV (US$297 million) and international TV (pay TV, US$34.6 million). Within this landscape, regional and national TV grew 16.6% and 14.15% respectively, while pay TV fell by 45.3%.

and CEO of Fox Telecolombia said, “these good economic times do not imply that we as producers should not become more efficient when it comes to developing quality products at competitive prices.”

and ‘Café con Aroma de Mujer’ also stand out among many others.

It is no surprise then that several international producers have recently landed in the country. One of them was Fox Television In the last decade, Colombian TV has exported Studios through FoxTelecolombia, with their over 30 television productions, most of them own studios in Bogotá, where they produced telenovelas, which have been sold in 80 ‘Mental’, the first series for the US market that countries worldwide. Among them, ‘Betty la was produced in a Latin American country. Fea’ (‘Ugly Betty’), is one of the country’s great Multinationals have also started to produce some of their series in Bogota, such as Disney Media Networks Latin America (‘A Corazon Abierto’, Dago Garcia a ‘Grey’s Anatomy’ adaptation VP of Production of Caracol by Vista Productions) and Televisión Sony Entertainment Television “As technical resources become (‘Los Caballeros las Prefieren ‘democratized,’ the fight for market Brutas’ made by Laberinto share is pretty much conceptual (…). Producciones).

Thematic originality, storytelling and formats are what now define the success of productions.”

Alejandro Arboleda General Manager of Be-TV

“The growing number of Spanish-

However, García added that speaking people in the United States “globalization, new technologies and an increase in the penetration and new distribution channels of cable TV in Colombia has also have definitely enlarged the increased demand for novel, highcontent market. As technical quality content.” resources become ‘democratized,’ the fight for market share is pretty much conceptual, instead of being disputed in production values or by exploiting the ‘star milestones in international TV, entering the system.’ Thematic originality, storytelling and Guinness Book of Records as the best-selling formats are what now define the success telenovela of all time. ‘Sin Tetas no hay Paraíso’ of productions which tend to become increasingly transnational. Along these lines, co-productions and custom productions made possible by significant agreements personify the business’ new spirit.” In this same line, Ana Piñeres, general manager and executive producer of production company CMO (responsible for RCN’s new production, ‘Correo de Inocentes’), said that “the business’ engineering is finally based on telling good stories that are fresh, original and supported on cinematographic technique, which can evidence high production quality internationally. The human team behind these products is equally important and should come from cinema, shooting each scene with extreme professionalism.” Some production companies stand out for both their worldwide projection and the sheer dimension of their infrastructures. This is the case, for instance, of Fox Telecolombia, which has managed to seal important alliances with international players backed-up with its 13,000 m2 worth of studios in Bogotá: three 1,400 m2, 750 m2 and 650 m2 studios and 25 editing booths with cutting-edge technology. However, as Samuel Duque Rozo, president

The Colombian audiovisual industry was recently marked by three large-scale operations by US major players in the country. First, Fox Television Studios acquired half of Producciones Telecolombia’s shares in mid-2007, resulting in productions such as ‘Tiempo Final’ and ‘Mental’. Then came the Sony Pictures Television partnership with Teleset and, recently, a strategic partnership between Telemundo, of the NBC group, with RTI Colombia, where products such as ‘Pasión de Gavilanes’ (‘Hidden Passion’), ‘Victoria’ and ‘La Mujer en el Espejo’ have emerged.

TTVProduction report

MARKET CHARACTERISTICS. Colombia has many advantages for audiovisual productions. The country is located in the northwest corner of South America, just a short trip away from cities like Los Angeles (7:40 hours), New York (5:30 hours), Miami (3 hours), Toronto (6 hours), Mexico City (4:30 hours), Buenos Aires (6:10 hours), Santiago de Chile (5 hours), Sao Paolo (5:45 hours), Paris (12:30 hours) and Madrid (10 hours). The country also counts with architectural diversity (ancient towns, monuments, modern cities) and climatic diversity throughout the year (snow, cold, plains, temperate and hot climates). Colombia is also famous for its low production costs when compared to other countries in the region, especially in terms of accommodation and food, locations, transportation, specialized local talent, extras, equipment rentals and production studios (TV, sound, filming). It also counts with tax incentives for co-productions with local companies. Refunds of certain taxes, such as VAT, are covered by the law to encourage the export of services. According to data collected by ttv on different projects, Colombia’s average production costs tend to be 40% lower than in Mexico

and Brazil. Also, on average and depending on the type of project, Colombian production costs should be 10% to 15% cheaper than in Argentina. These benefits aren’t the only ones, at least according to Alejandro Arboleda, general manager at Be-TV. “The growing number of Spanish-speaking people in the United States

for novel, high-quality content,” he told ttv. “National channels, as well as regional ones, have had to outsource production to third parties in their search for new talent and content. This has opened possibilities for independent production companies like ours.”

Another remarkable aspect lays in the term “talent”: technical and artistic talent with experience in TV production, advertising (30 international Samuel Duque Rozo advertisements per year) and President and CEO of Fox film (13 productions released TeleColombia in 2008). Colombia also counts with a great cultural and “These good economic times do not physical diversity, giving casting imply that we as producers should not directors a broader palette to become more efficient when it comes choose from for many types of to developing quality products at productions. Highly qualified competitive prices.” talent in production, direction, acting, art direction and post production of TV series, Ana Piñeres telenovelas, reality shows, General Manager and Executive documentaries, cultural shows Producer of CMO and children’s entertainment, is readily available. “The business’ engineering

is finally based on telling good stories that are fresh, original and supported on cinematographic technique.”

and the increase in the penetration of cable TV in Colombia has also increased demand

Additionally, the country has no unions in the audiovisual sector and there is no established or regulated rate in terms of technical staff salaries. Each production company negotiates rates for the professional services required for each project directly. ttv

Picker Sisters

Beaver Falls

The Social Leader

A+E Networks

ALL3MEDIA International

235 East 45th Street New York, NY 10017 Tel: +1-212-210-1400 Fax: +1-212-907-9476 Website: www.AETNinternational.com E-mail: intl.sales@aetn.com Stand: G3-18

Berkshire House, 168-173 High Holborn - WC1V 7AA - London, England Tel.: +44 (0)207 845 4350 Fax: +44 (0)207 845 4360 Website: www.all3mediainternational.com E-mail: manuela.morar@all3media.com Stand: LR3.22

Executives Attending

Peter Grant, VP International Sales Liza Thompson, VP International Sales Paul Corney, Sales Executive Stephanie Hartog, Executive VP Format Sales Nick Smith, VP Format Sales Sabrina Duguet, Format Sales Executive Argentina

ARTEAR

(Arte Radiotelevisivo Argentino S.A.) Lima 1261 - C1138ACA - Buenos Aires, Argentina Tel.: (5411) 4306 0013 Web: www.artear.com E-mail: sales@artearinternacional.com.ar Stand: 20.18

Executives Attending

Daniel Zanardi, General Manager Eduardo Fernández, Production Manager Walter Sequeira, Acquisitions Manager Mariana Fernández, Sales Manager Luciana Egurrola, Sales Executive Julieta González, Junior Sales Executive

TOP EXecutivE

Pablo Codevilla, Content Manager

Stephen Driscoll, VP International Sales

Steve Ronson, Executive Vice President, Enterprises

Geronimo Stilton

Atlantyca Entertainment HQ - Via G. Leopardi, 8 20123 Milan - Italy China Office – Room 401-402, Yard No.7 Ju’er Hutung Jiaodaokou, Dongcheng Dist. Beijing 1000009 China New York Office – 215W 88th Street, #10C New York, NY 10024 Tel.: +39 02 4300101 / Fax: +39 02 43001020 Email: firstnamelastname@atlantyca.it Website: www.atlantyca.com Stand: R35.21 Stand Tel.: +33 (0) 4 92 99 88 86

Executives Attending

Claudia Mazzucco, CEO Caterina Vacchi, Executive Producer Niccolò Sacchi, Supervising Producer Lucia Scott, Production Manager Luana Perrero, Sales Manager Pedro Citaristi, Sales Representative Rachele Geraci, Licensing Manager

TOP EXecutivE Pietro Marietti, Chairman

The Social Leader Picker Sisters

(Real-Life Character - 5 x 30’ + 3 x 60’) Tanya McQueen and Tracy Hutson criss-cross the

US looking in every nook and cranny for great

bargains and cool items to fill their new home store. They’re going to beg, borrow, and buy their way across the country, finding furniture and antiques that their customers will die for.

Raising the Titanic (History - 1 x 120’)

It’s common knowledge that an iceberg sank RMS Titanic, but how the “unsinkable” ship was so quickly mortally wounded, how it sank, and how it broke apart are questions that remain unanswered to this day. To commemorate the 100th anniversary of the sinking of the Titanic in April 2012, ‘Raising the Titanic’ seeks to answer these questions once and for all.

Monster In-Laws

(Real-Life Change, Format - 13 x 30’)

(Drama – Completed) Irreverent yet warm teen drama about three British lads looking for a summer of fun and scoring girls while working at America’s snobbiest summer camp. Laughs, adventures and a lot of heart follow.

Safe Breakers

(Factual Entertainment – Format) An action-packed engineering competition between two teams, designing and building unique machines to help them conquer the week’s hostile terrain and reach the final prize – the money filled safe. A hefty sum awaits the winning team, but not before the grand finale where the teams have to race against the clock and break the code.

The Only Way Is Essex

(Entertainment – Format – Completed) A series focused on young, rich and beautiful people that are proud of their plastic surgery and waxed within an inch of their lives. Their mesmerising antics are under the multi-media microscope in this real life drama, as we watch the real life repercussions of their actions in real time.

Billy Connolly’s Route 66 (Factual Entertainment - Completed)

World-renowned comedian and motorbike enthusiast, Billy Connolly, drives that road… The iconic Route 66 – Chicago to St. Louis, Missouri, USA, was officially de-commissioned 25 years ago, but Billy gets the maps out to prove you can still follow the ultimate Route.

(El Puntero) (Series – 36 x 60’) ‘The Social Leader’ tells the story of a political staffer, a man that keeps his dreams alive in a very peculiar way: through the political and social work within a neighborhood. He influences the actions and drives the destinies of the neighbors he represents in the area he has taken control of. ‘The Social Leader’ is a personal story that portrays the path of frustrations and unfulfilled wishes.

Left on the Shelf

(Para Vestir Santos) (Series – 36 x 60’) The harsh and biting widow Gloria (Blum) suddendly passes away. Her three spinster daughters, Susi (Toscano), Virgi (Siciliani) and Male (Cid), come to realize that the death of their dreadful mother is absolutely no liberation at all. As if cursed their lives seem to be marked by the fiasco of being unable to connect with the opposite sex… These three beautiful smart and young women, unable to find Mr. Right… have each other to lean on. This intense sitcom boldly confronts frustration and despair in the pursue for something which comes close to happiness.

Be Kind To Me

(Trátame Bien) (Series – 36 x 60’) After 22 years of marriage, Jose and Sonia are having a midlife crisis. They discover that have grown separately as adults, and come to the realization that the person lying next to them is an old stranger. A known stranger that still has a lot to give.

Geronimo Stilton

(Adventure Comedy - 52 x 23’ - 2D HD) Follow the adventures of Geronimo Stilton– Journalist, erudite mouse and head of a media empire- and his fearless nephew Benjamin, that together with funny cousin Trap, daring sister Thea, scour amazing locations and New Mouse City for new scoops. Season2 will see our friends travel to great new adventures, with Benjamin and Pandora leading the action, fighting dangerous villains with the help of brilliant Professor Von Volt and Benjamin’s robotic pet Max.

Dive Olly Dive

(Preschool - 104x11’ - 3D CGI HD) Follow the fun-filled underwater escapades of Olly and Beth, two young research submarinesin-training that under the guidance of Diver Doug discover the marvels of Safe Harbour.

Monkey King

(Epic Action Adventure - 52 x 23’) Based on the Chinese epic novel Journey to the West, the multi-awarded Monkey King is a wonderful portrait of an action adventure hero’s path to greatness with touches of deep poetry and comedy twists. Boosting broadcasters as CCTV and Disney Asia (in English), the series is ready to meet more kids!

TTV MAGAZINE/163

In-laws - most people have them... and in most cases, people have issues with them. Monster InLaws shines a light on married couples who are at the boiling point with their overbearing in-laws. Each episode features a spouse in between their parents and the person they married, desperate to save their relationships and reconcile deep-seated family feuds along the way. After setting up the relationship and the stakes of their impending reunion, viewers see them move in together, and observe as all of their nightmares come to fruition. Seasoned relationship experts will come in and use unconventional tactics to make them face their issues and hopefully restore their families.

Beaver Falls

Tempted

Saw Dogs

Broken Promises

BANIJAY INTERNATIONAL

CABLEready CORPORATION

Caracol Television

Cineflix Rights

98 East Avenue, Norwalk, CT 06851-5029, USA Tel.: +1 203 855 7979 Fax: +1 203 855 8370 E-mail: info@cableready.net Website: www.cableready.net Booth: R31.17

Executives Attending

Barley Mow Centre, 10 Barley Mow Passage, W4 4PH, London, UK Tel.: +44 (0) 208 996 1810 Tel.: +44 (0) 208 996 1811 E-mail: sales@cineflix.com Web: www.cineflixrights.com Stand: R 37.20

Lou Occhicone, Senior VP of Operations Peter De Jong, VP of Sales & Marketing Tatiana Figueiredo, Director of Sales Reess Kennedy, Director of Digital Media

TOP EXecutivE Gary Lico, President & CEO

TOP EXecutivE

Karoline Spodsberg, Managing Director

Tempted

(Reality, 60’) The sizzling new realty show where temptation lies around every corner, and everything comes at a price. How far will you go?

Love Trap (Reality, 30’)

Too shy to ask your secret crush out on a date? Let us help you lay the perfect trap…

Prison Diaries

Celebrity Stand-Up

(Crime/Factual/Documentary, 6 x 60’ HD)

Comedy competition meets intimate celebrity interview as brave stars face the ultimate challenge.

(Entertainment, 30’)

Esther Extraordinaire

Sabrina Ayala, VP of Sales and Acquisitions for Latin America, Iberia, and Italy

TOP EXecutivE

(Lifestyle/Travel/Entertainment, 10 x 30’ HD) “Master Carver” Steve Blanchard and his foreman introduce us to the hidden art of “chainsaw carving.” They pull from a pool of the best carvers in the world, matching their special skill sets to each week’s project, to craft some of the most intricate wood carvings imaginable. But unlike other crafts, chainsaw carving has an element of danger. Mistakes have resulted in loss of limb and even death. Confronting the chainsaw challenge requires a steady hand, a fearless disposition and a healthy ego.

Executives Attending

Saw Dogs

164/TTV MAGAZINE

Driving Wars

Carlos Alejandro Perez, CEO

Broken Promises

(La Promesa) (Series - 60 x 60’) In the middle of their life of struggle, three women will find out that love is the key to escape from the degradation and the torture that they have lived. But, will they be able to find an absolution after having gone through hell?

The Secretary

Sabrina Ayala, VP of Sales and Acquisitions for Latin America, Iberia, and Italy

Driving Wars

(8 x 60’, Entertainment, Format) ‘Driving Wars’ follows teams of drivers in the ultimate driving competition where state-ofthe-art robotics and radio control technology combine to create real remote control cars!

Paranormal Home Inspectors (Entertainment, 13 x 30’)

‘The Paranormal Home Inspectors’ combine traditional and supernatural approaches as they get to the root of why bizarre occurrences happen in seemingly normal homes.

Design Dealers

(Entertainment, 8 x 60’) Meet Sarah and Paul- they’re the Design Dealers who scour the roads of Britain in search of unique objects they can rescue, refurbish, and resell.

Johnny Test

The Proposal

Cookie Jar 266 King St. West, 2nd Floor, ON M5V 1H8, Toronto, Canada Tel.: 416 977 3238 E-mail: jm@cjar.com Website: www.thecookiejarcompany.com Stand: 17.01

Executives Attending

Disney Media Networks Latin America Two Alhambra Plaza 9th floor, Coral Gables, FL33134, USA Tel.: (+1) 305-567-3785 Fax: (+1) 305-774-3913

Executives Attending

Henri Ringel, VP, Distribution Jack Morera, Director, Distribution Leonardo Aranguibel, Director, Production Fabiola Bovino, Senior Manager, Marketing

TOP EXecutivE

Dori Media Group Hochhaus zur Palme, Bleicherweg 33, CH-8002 Zurich, Switzerland Tel.: +41-43-817-7050 Fax: +41-43-817-7055 E-mail: sales@dorimedia.com Website: www.dorimediadistribution.com Stand: Booth 12.02

Executives Attending

Leora Nir, VP of TV Channels, Dori Media Group Elena Antonini, VP of Sales, Dori Media Distribution Argentina Revital Basel, CEO, Dori New Media Andres Santos, VP of Sales, Dori Media America

TOP EXecutivE

Fernando Barbosa, SVP Distribution and Production

Imagine having a lollipop that gives you the strength of a hundred men, or a rocketpowered backpack that can send you to the Moon, or genetically altering your dog to make him talk. Johnny Test can do all of that…and more. ‘Johnny Test’ chronicles the adventures of a fearless 11-year-old boy, his genetically engineered super dog Dukey and his 13-year-old super genius scientist twin sisters, Susan and Mary, who use Johnny as their guinea pig for their out-of-this-world scientific experiments.

Caillou

8383 Wilshire Blvd., Suite 530 Beverly Hills, CA 90211 Tel: 1.323.658.7900 Fax: 1.323.658.7922 Website: www.echobridgeentertainment.com E-mail: info@ebellc.com Office: RB.33

Executives Attending

TOP EXecutivE

Daniel March, President, International

The Proposal (Film)

Johnny Test

Echo Bridge Entertainment

Nadav Palti, President & CEO, Dori Media Group

TOP EXecutivE

Michael Hirsh, CEO, Cookie Jar Group

Pearl Jam Twenty

Split - The Real Story

Revange

(Live Action Series) Emily Thorne (Emily VanCamp) is the newest arrival in the Hamptons this summer. By all appearances, she’s a friendly and sophisticated “girl next door,” whose disarming charm and generosity allow her seamless access to the restricted circles of Hamptons high society. But the affluent, exclusive world she’s immersed herself in is tied to a dark family history, and Emily Thorne is anything but what she seems.

Split - The Real Story (45 X 30’)

First Love (300 X 4’)

Checked in N.Y (Docu-reality)

(Documentary – 109’)

Academy Award winning director Cameron Crowe’s documentary on the band Pearl Jam that marks their 20th anniversary.

Messages Deleted A screenwriting teacher is forced to live out the plot of a screenplay idea he stole from a student, who now seeks reveng

Fear Island Trapped on a secluded island, five friends become prey to a mysterious killer seeking revenge.

Hirokin Hirokin, a reluctant warrior with a dark past, must fulfill his destiny when forced to choose between avenging the murder of his family and fighting for the freedom of a people long abused.

TTV MAGAZINE/165

Pearl Jam Twenty

Hell on Wheels

The Wedding Band

Endemol Worldwide Distribution

FremantleMedia Enterprises

Shepherds Building Central, Charecroft Way, Shepherds Bush, W14 OEE, London, United Kingdom Tel.: +448703331700 Fax: +442082224186 Website: www.endemoldistribution.com Stand: LR5.15

1 Stephen Street, London W1T 1AL, United Kingdom Tel.: +44 (0)207 691 6000 Website: www.fremantlemedia.com www.fmescreenings.com Stand: FremantleMedia Village, RB1

Executives Attending

Mel Alcock, CEO FremantleMedia Enterprises, EMEA Keith Hindle, CEO FremantleMedia Enterprises, Americas Jon Penn, CEO FremantleMedia Enterprises, Asia-Pacific Sheila Aguirre, SVP Sales & Development, Latin America & Hispanic USA Alyssa Cooper Sapire, Vice President, Programming

Matt Creasey, Executive Director –Americas, Asia, Australia/NZ

TOP EXecutivE

Cathy Payne, CEO

Executives Attending

David Ellender, Global CEO FremantleMedia Enterprises

(Drama, 10 x 60’)

It is about the epic story of post-Civil War America, focusing on a Confederate soldier -Anson Mount-, who sets out to exact revenge on the Union soldiers who have killed his wife. His journey takes him west to Hell on Wheels, a dangerous, raucous, lawless melting pot of a town that travels with and services the construction of the first transcontinental railroad, an engineering feat unprecedented for its time.

Wild Boys

(Series, 13 x 60’) It’s the mid-1800s, and Australia is the land of opportunity… for some. The government is corrupt; the penal system, harsh; the towns and highways are ruled by those known as ‘Wild Colonial Boys’. Mayor James Fife has big plans for Hopetoun. He’s brought in Police Superintendent Francis Fuller to clean up the area. Fuller and his troopers are in relentless pursuit of the Wild Boys. Fuller wants to set an example. Caught and they will be hanged. But the Wild Boys have other ideas as they make plans for the future.

Happily Divorced (Series, 22 x 30’)

It is inspired by the real life story of Fran Drescher and husband Peter Jacobson. After 18 years of marriage, Fran is shocked to discover that her husband Peter is gay. The LA based florist must deal with this bombshell and learn to juggle her new relationships and her ex-husband, who remains in the same house post-divorce.

Miracle Hands

Global Agency

Globo TV International

Abdi Ipekli Cad Arman Palas, 7/17 Nisantasi, 34367 Istanbul, Turkey Tel.: (90) 5337661525 Fax: (90) 2122966053 E-mail: info@theglobalagency.tv Website: www.theglobalagency.tv Stand: Lerins Hall LR3:08

Rua Evandro Carlos de Andrade, 160 / 7º andar, Vila Cordeiro 04583-115, São Paulo, Brazil Tel.: + 55 11 5112- 4413 Fax: + 55 115112-4018 E-mail: pedro.dombrasas@tvglobo.com.br Website: www.globotvinternational.com Stand: A0.01

Executives Attending

Gila Kantar, CFO Catherine Stryker, Head of Sales Brianne Bonney, Sales Executive Isil Turksen, Sales Executive Cheryl Ross, Sales Executive

TOP EXecutivE

Izzet Ressam-Pinto, CEO

Raphael Corrêa, Head of International Sales

TOP EXecutivE

Hell on Wheels

166/TTV MAGAZINE

Magnificent Century

Magnificent Century (Series, 120 x 60’)

A group of guys who dream of the Rock N’Roll Hall of Fame but for now are escaping everyday life by performing in a wedding band.

The story of a slave girl’s rise to power, within the harem of Sultan Suleiman, the Magnificent. Passion, murder, jealousy and intrigue are part of everyday life in the harem, and Hurrem must fight her way to the top if she is to survive by becoming the Sultan’s favorite concubine. The series is set in Ottoman times with the lavish costumes of that era.

The X Factor USA

Shopping Monsters

Have you got it? Simon Cowell’s high energy entertainment format that has taken the world by storm comes to Fox for Autumn 2011.

‘Shopping Monsters’ is a contest among five women that try to become the ‘Style Queen’ every week. They have a limited budget and limited time to choose an outfit for that week’s theme, and the other women are the judges!

The Wedding Band (Drama - 10 x 60’)

(Entertainment)

SLiDE

(Drama - 10 x 60’) Five 17-year-old friends are proving that teenage life isn’t all acne and angst - it’s about “live now, think later”.

(Format, daily strip)

The Island

(Series, 24 x 60’) It is the story of three generations of women who are connected to an island off the coast of Crete. Alexis, a college student from London trying to unlock her past, travels to Crete and plunges into the gripping history of three generations of women – all of them haunted by Spinalonga.

Miracle Hands

(La Cura) (HD - 5 x 52’) A doctor with the power of healing, hailed as saint by some and criminal by others, struggles with the ghosts of his past and paradox of his gift upon returning to his hometown. Blending mystery and suspense, Miracle Hands tells a gripping story about the duality between different beliefs, the power of spiritual healing, the supernatural and religious customs.

The Cariocas

(Las Cariocas) (HD - 10 x 25’) ‘The Cariocas’ is a series in ten stand-alone episodes about ten modern-day women and their day-to-day conflicts. Blending strong sensual appeal and sophistication, the series shines a new light on what Rio de Janeiro is most famous for - its beauty and its women.

Extreme Planet (HD - 1 x 40’ / 3 x 30’)

An expedition moved by beauty, danger, adventure, and success. A team of Brazilian journalists travel across Antartica, Andes Mountais, Norway and Bahamas, facing breathtaking challenges. The series tests man´s limits in a suprising, fascinating, and unforgettable way.

Ocean Hearts

Prime Suspect

Imagina International Sales Ctra. Fuencarral-Alcobendas, Km. 12,450, 28049, Madrid, España Tel.: +34 91 728 57 38 Fax: +34 91 728 57 39 E-mail: info@imaginasales.tv Website: www.imaginasales.tv Stand: R32.31

Executives Attending

José Huertas, CEO Géraldine Gonard, Sales Director Barbora Susterova, Sales Executive Lorena Molloy, Marketing Manager

TOP EXecutivE Laura Miñarro, Sales Manager

Pushovers

ITV Studios

Latin Media Corporation

MarVista Entertainment

FSA#34 Fox Studios Australia, 38 Driver Avenue, Moore Park, NSW 2021, Australia Tel.: 02 9383 4360 E-mail: Tobias.deGraaff@ITV.com Website: www.itvstudios.com Stand: R38.01

8725 NW 18th Terrace, Suite 405, Miami, FL 33172 Tel.: 1305-974-1765 to 1768 Fax: 1305-974-1769 Website: www.latinmediacorp.net Malaysian Pavilion – Stand: 5.19

12519 Venice Blvd. Los Angeles, CA. 90066 Tel.: 1-310-737-0950 Fax: 1-310-737-9115 E-mail: info@marvista.net Website: www.marvista.net Stand: RSV 46

Executives Attending

Leonie Lowe, Managing Director, Granada Australia Jan Kromschroeder, Managing Director, Granada Germany Kevin Lygo, Managing Director, Itv Studios Tobi De Graaff, Director of Global Television Distribution Maria Kyriacou, Managing Director, Global Entertainment Flavio Medeiros, Senior Sales Executive, Latin America

TOP EXecutivE

Paul Buccieri, International Managing Director

Ocean Hearts

(Adventure TV Series - 6 x 70’ / 8 x 50’) In the turbulent Spanish Age of Discovery, Ocean Hearts chronicles the real story of an expedition made by 80 young damsels sent to repopulate America with Spanish noble blood.

The Boat, on Course to the Unknown (Reality - Adventure- 9 x 70’)

Reality Show in which fourteen people will board a ship during a 30-day journey with the aim of setting a new course for their lives. The effort, discipline, shared experiences and competition, plus the mystery of an unknown route will be the basic pillars of this innovative survival-based reality show.

Mountain Challenge (Reality – Adventure - 28 x 50’)

Mountain Challenge is an adventure for 16 contestants who, along with a famous celebrity, the host and the expedition’s leader will make an attempt to reach the summit of the highest peak in the Americas: Aconcagua, towering over 22,840 feet high.

Red Eagle, The Movie (Adventure - 122’)

Prime Suspect (Drama, 22 x 60’)

Based on the international acclaimed British TV series by Lynda La Plante, ‘Prime Suspect’ stars Maria Bello as Detective Jane Timoney struggling to be accepted in a male dominated homicide squad in New York.

Titanic

(Drama, 4 x 60’ / 2 x 90’)

Multiple BAFTA-award winning producer Nigel Stafford Clarke brings the tragedy of the Titanic to screen as it has never been seen it before weaving personal narratives and grand dramatic re-enactment into a global television masterpiece.

Underbelly: Razor (Drama, 13 x 60’)

The hit crime drama series ‘Underbelly’ returns with ‘Razor’, which charts the thrilling gang war between two infamous crime queens set in 1920s Sydney. This series delves into Australia’s post-war criminal underbelly where women are as fierce as men and the razor is the weapon of choice.

The Jonathan Ross Show

Farid K. Ahmad, Director of Sales

TOP EXecutivE José Escalante, Managing Director

Joseph Szew, CFO/COO Vanessa Goglio, SVP Worldwide Sales Ryan Craig, Director of Sales Robby Amar, Director of International Sales Laura Hoffman, Director of Sales and Contract Administration

TOP EXecutivE Fernando Szew, CEO

Pushovers

First Lady

Dangerous Attraction (Thriller - 1 x 90)

When an ex-coworker beings stalking her, Casey Cooper must find the strength inside herself to stop living in fear and put a stop to this dangerous obsession.

Shattered Silence (Thriller - 1 x 90)

A suburban mom goes on a quest to uncover a shocking series of events that drove her teenage daughter to commit suicide.

3 Holiday Tails

(Christmas/Family - 1 x 90’) A charming Christmas, romantic comedy about three star crossed couples and the golden retrievers that bring them together.

Absolute Fear

(Action/Adventure - 1 x 90’) Dale Morrow and a group of his friends travel to a deserted island to search for his missing father and uncover the secret behind his disappearance.

The Soccer Nanny (Family - 1 x 90’)

A recently widowed woman hires a Norwegian soccer player to come to a small town to be a male au pair and help her raise her two sons.

(Entertainment, 19 x 60’)

Undisputed heavyweight king of chat Jonathan Ross hosts a fresh, funny, new show guaranteed to get people talking.

TTV MAGAZINE/167

Early XVII century. A summit between France, England, Portugal and the Pope is to take place in Spain. The countries are coming together under the guise of looking for a solution to the conflict between Spain and Portugal; however the ulterior motive is to attack the Kingdom of Spain. The townspeople and the whole kingdom will be at the mercy of the traitors but the Red Eagle will be there to help them. Based on the successful TV Series, the Red Eagle adventures reach the big screen.

Dangerous Attraction

Nine Moons

A Cry From The Past

Dinofroz

Smash

MEDIABIZ

Mediaset Distribution

MONDO TV

Av L. N. Alem 1026, 6th Floor, Capital Federal, Buenos Aires, Argentina C1001AAS Tel.: +1-310-765-4094 E-mail: alex@mediabiz.com.ar / virginia@ mediabiz.com.ar. Website: www.mediabiz.com.ar Stand: 20.18

Via Aurelia Antica 422, 00165 Rome Italy Tel.: +39 06 66390 566 Fax: +39 06 66390 650 E-mail: internationalsales@mediaset.it Website: www.mediasetdistribution.com Stand: R 32.07

Via Brenta, 11 – 00198 Rome, Italy Tel.: +39 06 86323293 Fax: +39 06 86209836 E-mail: mondotv@mondotv.it Web: www.mondotv.it Stand: 23.02 / 25.01

Executives Attending

Virginia Berberian, International Business Manager

Clare Mc Ardle, International Sales Manager Manuela Caputi, International Sales Manager Paola De Santiago, International Sales Executive

TOP EXecutivE

Alex Lagomarsino, CEO Partner

Patricio Teubal, Mediaset Distribution’s Head of Sales

NBC Universal International Television Distribution 100 Universal City Plaza, Universal City, CA 91608 Tel.: (818) 777-1300 Fax: (818) 866-1554 Stand: H4.05, Level 4, Palais Des Festivals Stand Tel.: + 33 (0) 492 99 87 91/2/3

Executives Attending

Belinda Menendez, President, NBCUniversal International Television Distribution, & Universal Networks International

TOP EXecutivE

Belinda Menendez, President, NBCUniversal International Television Distribution, & Universal Networks International

TOP EXecutivE Nine Moons

(Drama - 80 episodes) Dr. Pedro Laurenti and Dr. Claudia Miller not only share their office, but also their lives. These two outstanding doctors treat cases of teenage pregnancy, assisted fertilization, and problems of incest and sexual harassment. Far from becoming a succession of clinical cases, ‘Nine Moons’ is an approach to stories and human conflicts which all of us might identify with.

Cops and Robbers

(Police Thriller - 113 episodes) What happens when a man meets a woman, but the man is a thief and a policewoman? Easygoing, entertaining, and light in tone, each program of the series brings new cases, new conflicts and new characters with their own stories. Throughout the series, Gustavo and Veronica will discover that there are feelings that can’t be denied.

Coffee Stories

(Dramatic comedy - 1st Season 38 - 60’ / 2nd Season - 218 - 30’) All of us have been curious about what happens in the next table. Who are those people? What is the story behind that meeting? Extraordinary characters sit at the tables of this bar with dramatics and intense stories that we are going to know as their go through in a simple coffe talk.

From Bed to the Living Room

168/TTV MAGAZINE

(Drama - 26 episodes)

What happens after sex? What happens in the silences? What’s next? Living room: the place of the previous game, where the intellect dominates the relationship, where the lure is deployed, or conflict arises… the fight.

Orlando Corradi, President & CEO

A Cry From The Past

(Suspense-Thriller - 4 x 100’ / 8 x 50’) After 20 years of absence, Davide returns to the town where he grew up, bringing back painful and nostalgic memories from his mysterious past. A complicated but intense relationship makes him remain in the town and follow the developments that mix together past and present, love and fear, the desires of a small provincial town and secret passions, and in the end facing life and death in order to comprehend the darkest corners of the human soul.

The Chosen

(Suspense-Thriller Series - 12 x 50’) A young priest and Professor of Theology, is concerned with exploring the boundaries between science and faith, studying the world of paranormal phenomenon. He then meets an attractive psychologist who has a more skeptical attitude, she believes in the potential of the human mind rather than the divine. Their collaboration creates a special chemistry that comes from the seductive juxtaposition between rationality and faith, between science and spirituality.

Love And Vendetta (Drama Series - 16 x 50’)

This series is loosely based on the Dumas classic novel “The Count of Monte Cristo”. Full of twists that reveal the background of a dark past that everybody wants to forget. But one man has a score to settle once and for all... for “Love and Vendetta”.

Smash

(Drama - 15 x 60’)

DINOFROZ

GORMITI – The New Adventure

(Full HD 3D CGI animation - 26 x 26’ – Fall 2012) The new Princes of Gorm are called to action when an ancient evil rears its head and the legendary Magmion returns!

TRASH PACK

There’s nothing more exciting than the opening night of a hit musical on Broadway, except maybe what happens getting there. From executive producers Steven Spielberg and Craig Zadan & Neil Meron (‘Chicago’) comes a new musical series with original songs by Marc Shaiman and Scott Wittman (‘Hairspray’).

Grimm

(Drama - 13 x 60’) Detective Nick Burkhardt (David Giuntoli, Privileged) thought he was ready for the dark reality of working homicide in Portland, Oregon. That is, until he started to see things… unexplainable things like a gorgeous woman suddenly transforming into a hideous hag, or an average Joe turning into a vicious troll.

Suits

(Drama - 11 x 60’ / 1 x 120’) This new series stars Gabriel Macht (‘Love and Other Drugs’) as one of Manhattan’s top corporate lawyers who sets out to recruit a new hotshot associate but winds up hiring the only guy that impresses him – a brilliant but unmotivated college dropout (Patrick J. Adams, ‘Lost’). From executive producers Doug Liman and David Bartis (‘The O.C.’) and Gene Klein (Covert Affairs).

Bomb Patrol: Afghanistan (Reality - 10 x 60’)

This harrowing documentary series goes beyond the fiction of a war movie to bring you a series about the real life soldiers who put their lives on the line every day as members of an Explosive Ordinance Disposal unit stationed in one of the most hostile environments in the world: Afghanistan.

Pop Corn TV

Home Lab

NOVAVISION-MEG Rue Vivienne 12 – 75002 – Paris, France Tel.: 33 (0)1 7547 8070 Web: www.novavision.fr E-mail: sales@novavision.fr

Executives Attending

Nathalie Nenning, Sales Manager Cahrlène Calmano, Project and Acquisition Manager Lucy Le Gruiec, Sales Executive Dominique Da Costa, Sales Executive Charles Gebenholtz, Sales Executive Alex Quennell, Consultant

Nordic Wild

Killer Women

OZ media The Format Factory

PARTHENON ENTERTAINMENT LTD

Santiago Vázquez 1256, Montevideo Uruguay Tel.: (598) 27082174 E-mail: info@theformatfactory.tv Website: www.theformatfactory.tv | www.ozmedia.com.uy

Parthenon House, Station Approach, Chorleywood, WD3 5PF, UK Tel.: 01923 286886 Fax: 01923 286686

Executives Attending José Alonso, CFO

TOP EXecutivE

Pablo Arriola, CEO

Executives Attending

Connie Hodson, CCO Mike Shanks, CFO Leona Connell, Director of Global Factual Sales and Acquisitions Marie Chappelow, Director of Global Sales and Acquisitions, Children’s Brands Andrea Zarzecki, Sales Manager, Latin America, Middle East & Africa

(Edutainment Sitcom - 13 x 25’)

CRAZY HIDDEN CAMERA

(Entertainment, 175 x 26’, non verbal) ‘Crazy Hidden Camera’ is the second family oriented compilation show featuring our favorite world renowned candid camera gags: Zeze Hidden Camera, Junior Hidden Camera and Mad Boys Hidden Camera.

THE PRIZE OF SURPRISE (Game Show – Magazine)

The twist consists in comparing and explaining cultural differences between countries through candid cameras and funny clips. The promise is to have fun while guessing people’s reactions to pranks, compare these reactions according to country of origin, and challenge our prejudices through humor and trivia.

Executives Attending

Alejandro Lagomarsino, International Business Executive Virginia Berberian, International Business Executive

TOP EXecutivE Fernando Blanco, CEO Partner

Carl Hall, CEO

Home Lab (Entertainment, 400 x 26’, non verbal) ‘Pop Corn TV’ is our best seller, a premium family compilation show, totally revised for 2012, with the best of our candid camera gags, clips and bloopers. Everything and anything to surprise your audience and keep them glued to your screen! Magicians, twin brothers, contortionists, hypnotists, wild animals... everyday people facing extraordinary situations, always funny!

Jorge Newberry 3449, Ciudad Autónoma de Buenos Aires, Argentina Tel.: (+54 11) 4553-0588 E-mail: international@pol-ka.com.ar Website: www.pol-ka.com.ar Stand: 20.18

TOP EXecutivE

François Xavier Poirer, Founder and CEO

POP CORN TV

Pol-ka Producciones

Lola is a teen scientist with a garaje turned into a lab. A one-of-a-kind group of friends with a lot of humor, excitement and fun. An educational, multi-platform series that seeks to give basic science and technology knowledge to children, and encourage their taste for learning and experimenting. Target: kids 8-12

Prove Me You Love Me (Dating Talkshow - 13 x 60’)

A dating talk show full of adrenaline and emotion, that tells touching and funny love stories. Lovers who turn to ‘Prove Me You Love Me’ in order to get back the love of their lives are willing to do anything, even facing their worst fears, through demanding and funny love tests. Target: young and old.

The Infiltrator (Gameshow - 13 x 50’)

Seven contestants, a quiz show and an infiltrator, which must be discovered through the strategy and conspiracy. If you want to be a rich person, you can´t allow anybody else to be one.

Killer Women

(Drama-Police Series, 78 episodes)

Nordic Wild (4 x 60’ HD)

At the northernmost reaches of the world, a vast and ancient wilderness plays host to nature’s most spectacular wildlife. For the first time, this series offers a comprehensive overview of the wild beauty of the far North. It tells complex animal stories, follows the family life of musk ox and bear, and shows intimate pictures in the dens of lemming and Arctic fox and dizzying footage of breeding cliffs shared by thousands of seabirds. We also witness magical moments of its rare native species.

2012 – The Final Prophecy (1 X 60’ HD)

Written over eight-hundred years ago, the Mayan prophecies predicted the First World War, the rise of Hitler and the December 2006 tsunami that devastated South East Asia. On December 21, 2012, the Mayans predict a natural disaster of untold proportion will destroy the earth and wipe-out all of mankind. This programme will provide viewers with a dramatic scientific explanation for what may or may not happen in the year 2012.

Singapore 1942 (2 x 60’ HD)

Left on the shelf

(Dramatic Comedy, 35 episodes) Three sisters, haunted by memories of their dead mother, will try to break the spell of bad love affairs that seems to be on them. They might be single, but never alone. When Gloria, their mother, died, Susi, Virgi and Malena didn’t feel sad; but neither relieved. Nowadays these grown up women live together in their childhood home. They are smart, beautiful, and young. So why do they have no luck on love relationships? That’s a mystery. And for that they blame their mother, who had an odd sense of humor and never lost a chance to make them feel miserable; even after her death.

TTV MAGAZINE/169

Commemorating the 60th Anniversary of the fall of Singapore on February 15th 1942, this two-part documentary shows for the first time how this momentous battle brought an empire to its knees, dramatically changing the destiny of millions of people. It also charts the equally dramatic aftermath, which is told from a multi-national perspective, revealing new and challenging insights into a battle that turned our world upside down.

A series based on real events, which reconstructs the most impressive female criminal cases. What’s the difference between men and women who kill? Women don’t stab once, they stab until they run out of strength. Those who believe that women are the “fair sex”, will undoubtedly change their minds once they are acquainted with the real stories reconstructed in these mini-series. They won’t go back on their steps. Domestic violence, abuse, lovers, greed and unlimited ambition are some of the reasons that will push these women into unleashing their fury on their husbands, couples or friends. Some are mentally ill, some others act intentionally. For most of them things will get out of hand and they will end up in mental hospitals, or in prison. The main characters of this series may have little in common; however, all of them have a yearning desire: a better life.

El Joe

Jackpot!

Remember When…

RCN Televisión

Record TV Network

Rive Gauche Television

Avenida de las Américas # 65-82 Bogotá, Colombia Tel.: + (571) 4269292 - Ext 1187 Stand: 90.09

Rua da Várzea, 240 – Barra Funda, 01140-080, São Paulo-SP, Brazil Tel.: +55 11 3300-5468 Fax: +55 11 3300-5200 E-mail: dandrade@sp.rederecord.com.br Website: www.recordtvnetwork.com Stand: 0502

15300 Ventura Boulevard, Suite 507, Sherman Oaks, CA, 91403 Tel.: (818) 784-9912 Fax: (818) 784-9916 E-mail: rgtvsales@rgitv.com Website: www.rgitv.com Stand: 26.01

Executives Attending

Maria Lucia Hernandez, Directora Ventas Internacionales Lina María Waked, Ventas Internacionales. Ricardo Cruz, Director de Adquisiciones Sara Gutierrez, VP de Programación

Edson Mendes, International Sales Manager

TOP EXecutivE

El Joe

Fist Fight

(Telenovela - 120 x 60’)

Jon Kramer, Chairman & CEO Marine Ksadzhikyan, VP, International Sales Tomas Silva, International Sales Consultant Bryan Gabourie, Director, International Sales

Delmar Andrade, International Sales Director

Gabriel Reyes Copello, Presidente

170/TTV MAGAZINE

Born To Explore

TOP EXecutivE David Auerbach, President

CORPORACIÓN RADIOTELEVISIÓN ESPAÑOLA Avda. de la Radiotelevisión Nº 4 - 28223 Pozuelo de Alarcón – Madrid, España Tel.: +34 91 581 70 00 Web: www.rtve.es Stand: R – 36.07

Executives Attending

Mª Jesús Pérez Gómez, Head of Channels Sales Fernando Hernández, Executive of Channels Rosalía Alcubilla, Executive of Channels Sales Rafael Bardem, Head of Program Sales Raúl Molina, Executive of Program Sales Antonio Pérez, Executive of Program Sales Alessia Di Giacomo, Executive of Program Sales Mariví Altemir de Margelina, Head of Administration and Management

Jackpot!

TOP EXecutivE

Samson and Delilah (HD Series – 18 x 50’)

Manuel, aka “ The Lion”, returns to his neighborhood as an ex-con after five years in jail where he paid for having murdered a man during a clandestine brawl. Upon his return he finds his brother involved in the criminal world he strongly wanted to avoid. Coincidentally at the same time he meets Silvia, a wealthy psychology student who recently began her internship in the local public school his brother attends. Joined by the wish of driving teens away from the streets they design a project set within a boxing gym they open; “fist fight gym”.

A Dream Called Salsa

Esther, the Queen

(Telenovela - 121 x 60’)

(HD Series – 10 x 60’)

Born To Explore

Rodolfo Domínguez, Commercial Director

(Adventure - 13 x 60’)

An adventure series that travels across the continents in search of experiences not found in guidebooks. Wiese, the real life Indiana Jones, takes viewers on unforgettable journeys across seven continents for unprecedented explorations into the most exotic animals, cultures and places that inhabit our planet.

Hollywood’s Hot List A fast paced and funny countdown clip show that features the most exclusive celebrity photos and footage in the world. Each episode will count down the best and worst that Hollywood has to offer. From the biggest stars to the biggest scandals, beautiful homes to beautiful bodies, from messy nights out on the town to the messiest breakups ever.

Girl’s Guide To Depravity (Scripted comedy - 13 x 30’)

A scripted adult comedy about two best friends, Samantha and Lizzie, who have dated more than their fair share of bad men. So they’ve come up with their own set of rules, The Rules of Depravity, which are designed for maximum pleasure and minimal heartbreak. But whether they’ll admit it or not, they’re just looking for the same thing we all want – love.

Remember When… (Series, 216 x 70’)

The irruption of television set in the life of a Spanish family in the end of 60’; the passion which the radio series; ‘Ama Rosa’ stirred up; the Elena Francis pieces of advice; the ‘Singer’ sewing machine; the first signs of freedom after 40 years if dictatorship: the success of the song ‘La, La, La’ in the Eurovision Festival and the arrival of the car Seat 600, are some meeting points with collective memory of three Spanish citizens generations.

Love in difficult times… (Series, 1.466 x 45’)

‘Love in difficult times’ takes us straight to the years of the Spanish Civil War and the Franco dictatorship. This is a daily series starring a great cast that combines young actors with some of the biggest names in Spanish acting. Painstaking, rigorous documentation went into this series, setting a new standard for the quality one expects from TVE fiction.

Louie Spence Dance Project

One Born Every Minute

Charlie’s Angels

The Kennedys

SEVENONE INTERNATIONAL

Shine International

Sony Pictures Television

Spiral International Inc.

Medienallee 7, 85774 Unterfoehring, Germany Tel.: +49 89 9507 2320 Fax: +49 89 9507 2321 E-mail: sales@71int.com Website: www.71int.com Stand: H4.12

1741 Ivar Avenue, Los Angeles, Ca 90028 Tel.: 323 790 8120

10202 West Washington Boulevard, Culver City, CA 90232, USA Tel.: +1 (310) 244-4000 Fax: +1 (310) 244-1874 Website: www.sonypictures.com Stand: RB.20 Stand Tel.: +33 (0)4 92 99 3301

10462 NW 31st Terrace, Miami, FL 33172, USA PH: 305-594-3000 Fax: 305-594-3061 Email: fflores@spiraldist.com Stand: H4.12

Executives Attending Jens Richter, Seven One

TOP EXecutivE

Executives Attending

Martin Rakusen, SVP, Business & Operations Noel Hedges, Head of Acquisitions Ruth Clarke, VP, Head of EMEA Katrina Neylon, Sales Director, International Distribution Benelux, Iberia, Italy, Portugal, Africa & Middle East

TOP EXecutivE

Jens Richter, Seven One

Matt Vassallo, VP, Shine International

Louie Spence Dance Project (Reality Docu Series - 6 x 45’)

After having a gigantic hit with the show “Pineapple Dance Studio”, Louie Spence has now been commissioned by Broadway Dance Studio to come to New York and bring a breath of fresh air.

Lilyhammer

Betty White’s Off Their Rockers (Hidden Comedy - 12 x 25’)

Emmy Award winning actress Betty White orchestrates a band of fearless senior citizens as they roam the streets pulling hilarious pranks on the younger generation.

The Greening of Whitney Brown (Adventure - 1 x 90’)

Executives Attending

Kees Abrahams, President, International Production Keith Le Goy, President, International Distribution Andy Kaplan, President, Networks Mike Wald, Executive Vice President, International Distribution Donna Cunningham, Managing Director & Executive Vice President, production, Latin America/US Hispanic Alexander Marin, Senior Vice President, Distribution, Latin America

TOP EXecutivE

One Born Every Minute

(Season 1 8 x 60’ / Season 2: 12 x 60’) Filming for 24 hours a day, over 6 weeks with 40 remotely operated cameras, this second series is bigger in scale and ambition - but the human stories rise above everything else, the relationship between mothers and their birth partners, and the enduring emotional power of the moment when new life begins are captured in intimate detail.

The Biggest Loser (Seasons 1-11)

‘The Biggest Loser’ offers severely overweight participants the opportunity to undergo a radical transformation of their bodies, health – and ultimately their lives.

Steve Mosko, President, Sony Pictures Television

Charlie’s Angels (Drama Series - 13 x 60’)

Three women with criminal pasts are given a second chance in this update of the original series. Reclusive billionaire, Charlie Townsend, hires them to join his exclusive detective agency to fight crime.

Pan Am

(Drama Series - 13 x 60’)

Executives Attending

Fabiola Flores, Sales Director Latin America/ US Gillian Kirby, Sales Director Panregional Latin America

TOP EXecutivE

Zasha Robles, Managing Director Spiral International

The Kennedys (Drama, 8x60’)

A miniseries that recounts the life of the Kennedy family, including triumphs and tragedies they endured. It stars Greg Kinnear, Katie Holmes, Barry Pepper and Tom Wilkinson, among others.

Spook Inn (Family, 1x90’)

Ghosts thieves do their best to scare away the family that is now living in their home.

Sid the Science Kid

(Animation, Season 1, 40 x 30’) A series that focuses on a curious boy named Sid who always goes in search of discovering why things work the way they do.

As a fast, new luxury airliner takes to the skies, the passengers and crew face a voyage whose landscape is shaped by romance, shifting societal values and even international espionage. Head stewardess Maggie mentors rookie flight attendant Laura, while first officer Ted turns on the charm.

Whitney, a spoiled pre-teen, is forced to move to the country where she befriends an amazing horse - featuring Brooke Shields, Aidan Quinn, Kris Kristofferson, Sammi Hanratti.

You Deserve It! (Game Show)

It’s better to give than to receive – created by Dick de Rijk (‘Deal or No Deal’) this is the first game show where a contestant is not playing for himself, but for someone deserving it.

TTV MAGAZINE/171

The Voice Of…

The Man Of Your Dreams

Moby Dick

Talpa Distribution B.V.

Telefe International

TELEFILMS

Zevenend 45, 1251 RL LAREN, the Netherlands Tel.: +31 35 5333333 Fax: +31 35 5333334 E-mail: sales@talpa.tv Website: www.talpa.tv Stand: LR3.09

Prilidiano Pueyrredón 2989 2nd floor – B1640ILA - Buenos Aires, Argentina Tel.: (5411) 4308-5810 E-mail: sales@telefeinternational.com.ar Web: www.telefeinternational.com Booth: RSV 14 – Riviera Sea View

Av. Libertador 1068 PISO 11, Buenos Aires, Argentina Tel.: 5411 5032 6000 Fax.: 5411 5032 6099 Website: www.telefilms.com.ar Stand: 09.05

Executives Attending

AnneliesNoest, Format Sales Director GepkeNederlof, Licensing Manager Laura Rhodarmer, Licensing Manager

TOP EXecutivE Maarten Meijs, Managing Director

TOP EXecutivE

The Voice Of…

(Talent show, 17 x 90’) It’s the purest vocal talent competition ever. Four of the country’s top recording artists seek out the nation’s best vocal talent. In this innovative primetime contest, looks don’t play a role. This show is all about real talent; it’s all about the voice!

Fernando Varela, Director of International Business Area

The Man Of Your Dreams

The Battle of the Sexes

(Comedy - 13 x 60’)

From the beginning of time, men and women have tried to understand one another. And have usually failed miserably. But there’s hope. On the upbeat game show ‘The Battle of theSexes’, four male and four female celebrities will do all they can to at least try to understand how the other sex thinks, feels and acts. And the results are hilarious.

(Entertainment, 8 x 90’)

The Pain Game

(Entertainment, 40 x 30’) On this show, contestants need general knowledge, estimation skills and above all: a high pain tolerance, because on ‘The Pain Game’, wrong answers must be undone by suffering a scary, dirty or painful punishment. So… no pain, no gain!

172/TTV MAGAZINE

Midnight in Paris

When You Smile

(Romantic sitcom, 150 x 60’) ‘When you smile’ is fiction with lots of comedy and lots of romance aimed at the whole family to have fun and emotion and it is starred by renowned actor Facundo Arana and Julieta Díaz, with a first-class cast made up by Mario Pasik, Benjamín Rojas, Mariana Esposito, Mercedes Funes and Julia Calvo, among others. It tells the story of how the life of a successful professional which is programmed hour by hour, day by day and month by month is suddenly disrupted by the arrival of a son whose existence he ignored and a father whom he would have preferred not to know.

Ricardo Costianovsky, CEO Humberto Delmas, Sales Manager Alfredo Andreoti, Sales Manager Alejandro Carballo, Sales Manager

TOP EXecutivE Tomás Darcyl, President

Tele München International Luise-Ullrich-Str. 6, 82031 Gruenwald, Germany Tel.: +49 (0)89 290 93-0 E-mail: sales@tmg.de Website: www.tmg.de Stand: LR1.06 Lerins

Executives Attending

Dirk Schweitzer, Managing Director Ludwig Bauer, Managing Director Michael Oesterlin, Executive Vice President International Sales Carlos Hertel, Head of International Sales Myriam Gauff, International Sales Manager Giannina Antola, International Sales Manager

TOP EXecutivE

Herbert Kloiber, Managing Director / Owner

Midnight in Paris (Comedy, 1 x 111’)

Larry Crowne

(Romantic Comedy, 1 x 98’) After losing his job, a middle-aged man (Tom Hanks) reinvents himself by going back to college, where he calls his teacher attention (Julia Roberts).

The Skin That I Live In (Drama, 1 x 120’)

The King’s Speech (Drama, 1 x 118’)

Moby Dick

(Action/Adventure/Literature - 2 x 90’ / 1 x 120’) Propelled by endless hatred, one-legged Captain Ahab hunts the mysterious white whale Moby Dick clear across the seven seas. A modern myth about an archaic yet timeless battle over life and death.

Flashpoint

(Action/Drama/Crime - 62 x 60’) ‘Flashpoint’ takes us inside the lives of this unbelievable team – on and off the job. These cops are heroes. But they’re also human. These guys are constant witnesses to the extremes of human distress. Not everyone is cut out to be a super-cop.

Rosamunde Pilcher’s Shades Of Love

(Drama/Romance - 2 x 90’ + 2 x 90’) Balnaird House is one of the most splendid estates in the Scottish Highlands and the home of the ancient and noble Aird family – and of a dark family secret.

Behind Closed Doors

The One Who Couldn’t Love

Orphans

Passions of the Heart

Telemundo Internacional

Televisa Internacional

TV Azteca

Venevision International

2745 Ponce de Leon Blvd., Coral Gables FL 33134, USA Tel.: (305) 774 0033 Fax: (305) 774 7372 E-mail: alejandra.recasens@nbcuni.com Website: www.telemundointernacional.com Stand: A.021

Periferico Sur 4121, Fuentes Del Pedregal Tlalp, 14141 D.F, México Tel.: +52 555 251 1410 Fax: +52 555 251 1409 E-mail: sales@comarex.tv Website: www.comarex.tv Stand: LR2.06

121 Alhambra Plaza, Suite 1400, Coral Gables, FL 33134, USA Tel.: 305 442 3411 Fax: 305 446 7443 Website: www.venevisioninternational.com Stand: 14.02

Executives Attending

Xavier Aristimuño, SVP Sales & International Businness Development – Asia Esperanza Garay, SVP Sales & Acquisition, Latin America Luis Daniel Capriles, VP International Digital Media Sales Joysette Rivera, Sales Manager, Central America, Canada, Ecuador & Caribbean Alejandra Recasens, VP Marketing & Promotions Melissa Pillow, Sales Director, Europe Elena Aguirre, Sales and Traffic Coordinator, Europe

TOP EXecutivE

Marcos Santana, President

Executives Attending

Carlos Castro, General Director of Sales Ricardo Ehrsam, General Director Europe and Asia Claudia Sahab, Director for Europe Pedro Fonto, General Director of Sales Asia, Africa and Middle East Mario Castro, Director of New Businesses Claudia Silva, Director of Sales for Licensed Products & Pay TV José Luis Romero, Director of Formats and New Contents

TOP EXecutivE

Fernando Pérez Gavilán, VP of Televisa Internacional

Behind Closed Doors (Telenovela, 130 x 60’)

In the house next door, nothing is what it seems. In it live people that hide many secrets. This is the Conde family, a traditional family composed by Renato Conde, Eva Spencer, and their children Ignacia, Carola and Emilio. Like any other family, the Condes also have problems; just that in this case the scope is very different. The strict and commanding education imposed by Eva on her children has created strong rivalries among them. On the other hand, Renato did not create his powerful company in a lawful way; instead he conducted illegal operations to get rid of business partners and possible competitors. In the house, strange deaths have occurred under mysterious circumstances, but the police investigation reports have concluded that these deaths have been due to natural causes.

My Heart Beats for Lola Volcan (Telenovela, 130 x 60’)

(Traditional, 150 x 60’)

Double Life

Executives Attending

TOP EXecutivE

Marcel Vinay Hill, VP International Sales

Miguel Dvorak, President & COO of the Cisneros Group of Companies

Orphans

Passions of the Heart

It is the story of three wealthy young girls whose fortune takes a turn for the worse when their parents die. On the tough journey ahead of them they will discover that their fighting spirit and thirst for the truth are the most valuable things they could ever have wished to inherit. The aristocratic Montemayor sisters, Aralia, Melina and Diana are too young and naïve to fully comprehend the tragedy that has befallen them. Their parents had brought them up in a completely different world one where there was no place for betrayal, intrigue and scorn. Now, with the help of their nana, Santina, they will have to learn to survive in a harsher reality.

(Drama, 120 x 60’)

Under a Red Sky (Drama, 120 x 60’)

(Telenovela, 120 x 45’)

Natalia

The Black Widow (Telenovela, 140 x 45’)

Eva Luna

TTV MAGAZINE/173

The one who couldn’t love

Executives Attending

Being Human

The Band

RAW

VIP 2000 TV

WORLD MEDIA PICTURES

Tel.: (305)3732400 Fax: (305)3732451 E-mail: roxana@vip2000.tv Website: www.vip2000.tv

1525 Lantana Court, Weston Florida 33326, USA Tel.:+1-954-376-6584 E-Mail: sales@worldmediapictures.com Website: www.worldmediapictures.com/ Stand: 11.12

Executives Attending Roxana Rotundo, CEO

TOP EXecutivE

Executives Attending Juan Antonio Fernández, VP

TOP EXecutivE

Roxana Rotundo, CEO

Being Human (Series, 13 x 45’)

Three roomates share a house and try to live a normal life despite being a ghost, a werewolf, and a vampire

In the name of honor (Telenovela, 140 x 45’)

Ilinca is the modern woman who dreams of a successful career in PR and never settles for what she has got. Yet, deep down, she still believes that true love can be found. And when least expected, Ilinca meets Amir, a charming, wealthy and attractive Sheikh who will change her destiny from the very first moment they meet.

Luna roja

(Telenovela, 179 x 50’) It is the story of a forbidden love between Isabel and Alfonso, a vampire that tries not to be recognized. When the pact that allows vampires and human live in peace is broken, a radical group of vampires commit themselves to reveal the secret of immortality. Immerse in such circumstances, Alfonso and Isabel fall in love and are condemned to celebrate a love story similar to Romeo and Juliet’s one.

Juan Antonio Fernández, VP

Sing If You Can

World Wrestling Entertainment 5 Jubilee Place London, SW3 3TD United Kingdom Tel.: +44 (0) 20 7349 1750 Fax: + 44 (0) 20 7349 1741 E-mail: wweintl@wwecorp.com Website: www.wwe.com Stand: R31.37

Executives Attending

Gillian Hughes, Director, International Digital Sophie Stone, Director, Int’l Media Distribution Emilio Revelo, Manager International Media Distribution, Latin America

Beaumont House, Kensington Village Avonmore Road London W14 8TS Tel.: +44 (0)20 7013 4400 Fax: +44 (0)20 7013 4401 E-mail: contactus@zodiakrights.com Website: www.zodiakrights.com Stand: LR4.02

Executives Attending

Jane Millichip, Managing Director Liliana Lombardero, Head of Operations Fabrizio De Leo, Vice President of Sales

TOP EXecutivE

Dominic Hayes, Senior Vice President & Managing Director, International Media Distribution

The Band

The Band (Teen Telenovela - 80 x 60’) In an Exclusive International Boarding High School, the students will form two rival music bands where only one is allowed to remain. Therefore, the inevitable war for fame will begin right away.

FANATIKDA

(Telenovela - 120 X 60’) The story of a murderer who is stalking the lives of the members of the band KDA. The detective César Muñoz will do his best to discover who is threatening the band and the owner of the record label, Gonzalo Arpón. Arpón is not aware that the psychopath behind the murders is very close to him and to his businesses.

A Kind of Love

(Telenovela - 71 x 60’) Although Joaquin was running away from his crime, he did not know that he would never be able to run away from the ghosts of the past or from the terrible course that Maria threw at him before leaving.

Sabrosa Pasión Plus

(Light Entertainment - 52 x 60’) Follow each of these spicy interviews, watching at the same time how a delectable dish is cooked. There will be health and diet advice and trips to exotic gastronomic destinations. Carlos Mesber, actor and entertainer, brings us a lot of fun.

Herbert Kloiber, Managing Director / Owner

Sing If You Can

(Entertainment Format - 60’)

Raw

(Sports/Entertainment - 52 x 60’ or 52 x 120’) This live event show is the most exciting and unpredictable action-packed program on television with Raw featuring an incredible roster of “larger-than-life” Superstars.

SmackDown

(Sports/Entertainment - 52 x 60’ or 52 x 120’) Guaranteed to blow the lid off television worldwide, ‘SmackDown’ is a live-event program with a brilliant array of talent.

Superstars

(Sports/Entertainment - 52 x 60’) This live event program features Superstars and Divas from ‘Raw’, ‘SmackDown’ and ‘ECW’, giving fans the opportunity to experience matchups unheard of on regular, non pay-per-view programming.

NXT

(Sports/Entertainment - 52 x 60’) WWE ‘NXT’ is a hybrid live event/reality show featuring eight well-known, popular WWE Superstars (“Pros”) mentoring eight WWE “Rookies.”

The WWE Experience

(Sports/Entertainment - 52 x 60’)

174/TTV MAGAZINE

Zodiak Rights

Combining highlights from ‘Raw’, ‘SmackDown’, ‘NXT’ and ‘Superstars’ with exclusive features on WWE Superstars outside the ring, ‘The WWE Experience’ provides a fresh look audiences will find entertaining.

How easy is it to sing…. when it’s minus 60 degrees? What about performing on stage with 500 wasps buzzing around you? Sing If You Can is an hour of amazing, studio entertainment, where the contestants give their all to sing popular tunes, regardless of the circumstances! Each week two teams battle as individuals, in duets or as a group, with varying degrees of talent and experience, to perform the biggest hits around while under extreme pressure! The top team gets the opportunity to perform on the ‘Money Spinner’ for a chance to win big!

Water Wars

(Entertainment Format - 60’) In an action-filled, breakneck and very wet competition some of the country’s most fearless celebrities face each other. Two competing teams go at it head-on in six outlandish water games. Besides strength, endurance and above all a high pain threshold, the contestants must demonstrate a cool head when scoffed and booed at by the other team. In order to brave the severe challenges facing them the team members must pep and support one another. Because in Water Wars anything can happen and only one thing is certain – it’s gonna hurt, good and proper.

You’ve Got To Be Kidding Me (Entertainment Format - 60’)

You’ve Got To Be Kidding Me! showcases the nation’s most talented kids in a series of nail biting duels, pitting them head-to-head against celebrities from the field of music, sport and culture. A panel of celebrities bet on the outcome with the winner donating their cash prize to charity.